These new works are pairs made of used plywood from art transport/storage crates.
Their geometries are local, yet distant — arm’s length
Built up and vacant.
Direct, not iffy.
I often think about the overproduction and preservation of artworks, the footprint these practices leave behind, their cost, and their environmental impact. For these most recent works, I’ve found fertile ground in the used-up material culture generated by the art logistics industry.
Found objects, charged by market forces, get outlined and painted. Then outlined again. Not verso, but a shadow version. Imprinted and attached like an appendix. There is friction in the balance. Static in the copy. This is shadow work.
