Reorienting Tools in Hopes of a Future
July 2021, Carthage, NY
“It calls forward the question of the role objects play when they have ceased being useful. Wretched by time from their intended use, the objects become purely aesthetic, becoming the focus of contemplation in both historical and poetic terms.” — Petzel Gallery on Walead Beshty's 2019 solo show, Abstract of A Partial Disassembling of an Invention Without a Future: Helter-Skelter and Random Notes in Which the Pulleys and Cogwheels Are Lying Around at Random All Over the Workbench, a massive collection of cyanotype made over the course of a year in the studio and of the studio.
I displayed the majority of the work I made from August 2020-July 2021 in my garage—a space of “work,” a common masculine dwelling in a suburban sense, a space for a sort of storage that does not seek to preserve in a prestige sense but a re-usable, “when/if needed” sense. The works—a series of cyanotypes and collage paintings—examine the products of medical intervention and labor, captured in altered modes of use and presentation, allowing me to question the ability of the body to perform in its intended and unintended modes.