Contemporary Art in the Americas Arte Contemporáneo en las Américas

toke of proof krept shep’ly

Dustin Hodges

Galería Mascota Mexico City, México 09/23/2016 – 11/04/2016

Dustin Hodges - toke of proof krept shep'ly - Galeria Mascota

Dustin Hodges - toke of proof krept shep'ly - Galeria Mascota

Dustin Hodges - toke of proof krept shep'ly - Galeria Mascota

Galería Mascota is pleased to present toke of proof krept shep’ly an exhibition by Dustin Hodges. Hodges’ work considers painting as a form of labyrinth in relation to the gallery’s architecture. Labyrinth here is understood in the Borgesian sense of a self-enclosing structure wherein endless loops seem to deny linear time in favor of obstinate circularity.

toke of proof krept shep’ly presents five new paintings which enclose a space, four walls with five panels. The gallery’s spiral staircase becomes a model form around which the paintings effect their own spiraling motion. Whereas the staircase implies bi-pedal conveyance up and down, the paintings stage “guided pours” wherein viscous liquid (here pigmented shellac) flows downwards in syncopated starts and stops.

The gallery’s upstairs hosts a collection of local fruits which reappear as painted “characters” within the labyrinth below, framing the downward gesture and suggesting possible narratives. The 17th century Dutch painterly mode known as vanitas reflected on flows of objects and mortalities, rarely without a piece of fruit present. Perhaps we could say:

The exhibition performs a vanitas caught in its own gaze.
The labyrinth performs a vanitas caught in its own exhibition.
The vanitas performs a gaze caught in its own labyrinth.
The gaze exhibits a vanitas caught in its own performance.

The sentence can be written with the four nouns rearranged in any order without compromising sense too badly. This should raise alarms. The verb (caught) remains a steady fulcrum like the post in any spiraling staircase. A sense of capture is central to these paintings.

http://www.galeriamascota.com/

Photo: Rodrigo Gaya
Courtesy of Galería Mascota, Mexico City

Dustin Hodges - toke of proof krept shep'ly - Galeria Mascota

Dustin Hodges - toke of proof krept shep'ly - Galeria Mascota

Dustin Hodges - toke of proof krept shep'ly - Galeria Mascota

Galería Mascota is pleased to present toke of proof krept shep’ly an exhibition by Dustin Hodges. Hodges’ work considers painting as a form of labyrinth in relation to the gallery’s architecture. Labyrinth here is understood in the Borgesian sense of a self-enclosing structure wherein endless loops seem to deny linear time in favor of obstinate circularity.

toke of proof krept shep’ly presents five new paintings which enclose a space, four walls with five panels. The gallery’s spiral staircase becomes a model form around which the paintings effect their own spiraling motion. Whereas the staircase implies bi-pedal conveyance up and down, the paintings stage “guided pours” wherein viscous liquid (here pigmented shellac) flows downwards in syncopated starts and stops.

The gallery’s upstairs hosts a collection of local fruits which reappear as painted “characters” within the labyrinth below, framing the downward gesture and suggesting possible narratives. The 17th century Dutch painterly mode known as vanitas reflected on flows of objects and mortalities, rarely without a piece of fruit present. Perhaps we could say:

The exhibition performs a vanitas caught in its own gaze.
The labyrinth performs a vanitas caught in its own exhibition.
The vanitas performs a gaze caught in its own labyrinth.
The gaze exhibits a vanitas caught in its own performance.

The sentence can be written with the four nouns rearranged in any order without compromising sense too badly. This should raise alarms. The verb (caught) remains a steady fulcrum like the post in any spiraling staircase. A sense of capture is central to these paintings.

http://www.galeriamascota.com/

Photo: Rodrigo Gaya
Courtesy of Galería Mascota, Mexico City

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