Synesthesia (s?n'?s-th?'zh?) is a neurological phenomenon in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway.The works that comprise Spencer Finch’s fifth exhibition at Rhona Hoffman Gallery, Saturated Sight, are inspired by synesthesia and the ability to see beyond the visible spectrum of the human eye. Finch is not a synesthete, but he established parameters in his studio in order to explore the limits of expanded sight; Manet’s still lifes, Bach’s Goldberg variations, fog, and Samuel Beckett’s description of Murphy’s fourpenny lunch are among the chosen conceptual frameworks for works on view.
In the novel Murphy, Beckett describes the protagonist’s ritual lunch experience. “The sensation of the seat of a chair coming together with his drooping posteriors at last was so delicious that he rose at once and repeated the sit, lingering with intense concentration.” Murphy attempted to relive the satisfying “sit” only to find that the second was “a great disappointment.” Finch mimicked this action in the studio where he responded with a sequential series of 16 pastel drawings, The sensation as I sit down in my studio chair #2 (After Beckett), in which two lines in two differing colors emerge from a white ground to allude to the meeting of the artist’s body with the chair.
Another sensory transfer occurs in the fluorescent light work Goldberg Variations 4 and 5, in which Finch has translated Bach’s Goldberg variations into color according to Isaac Newton’s correlation between the visible spectrum and the musical scale. Each colored filter represents a different note, and the width of each band corresponds to the note’s duration. Where rich harmonies are heard in the musical composition when two notes overlap, two colors coinciding yield unexpected jewel-like tones. Through an efficient application of precise variables, Finch allows his viewers to come a little closer to experiencing synesthesia.
Spencer Finch was born in New Haven, Connecticut in 1962. He currently lives and works in Brooklyn, NY. Recent solo exhibitions and commissions include: Trying To Remember the Color of the Sky on That September Morning, National September 11 Memorial and Museum, New York, NY (2014); A Certain Slant of Light, Morgan Library and Museum, New York, NY (2014); Ulysses, Marfa Contemporary, Marfa, TX (2014); The Skies Can’t Keep Their Secret, Turner Contemporary, Kent, UK (2014); Following Nature, Indianapolis Museum of Art, Indianapolis, IN (2013); Painting Air, and Rhode Island School of Design Museum of Art, Providence, RI (2012). Upcoming exhibitions include projects at the Corning Museum of Glass and Seattle Art Museum later this year.
For the past decade John Preus’ interdisciplinary art practice has poetically investigated and sparked dialogue about contemporary social-political, civic, and labor structures. In The Relative Appetite of Hungry Ghosts, his first solo exhibition at Rhona Hoffman Gallery, Preus has developed an installation of sculptural furniture from materials salvaged from the 49 Chicago Public elementary schools that were closed in 2013, a single act that displaced 12,000 children in the city’s south and west neighborhoods.
For the past decade John Preus’ interdisciplinary art practice has poetically investigated and sparked dialogue about contemporary social-political, civic, and labor structures. In The Relative Appetite of Hungry Ghosts, his first solo exhibition at Rhona Hoffman Gallery, Preus has developed an installation of sculptural furniture from materials salvaged from the 49 Chicago Public elementary schools that were closed in 2013, a single act that displaced 12,000 children in the city’s south and west neighborhoods.The soft wood in Preus’ bricolage cubes, swing set, and bench reveal graphite scribbles, sticker sediment, carved initials, and red gum: individual traces of student wear. The salvaged desks and chairs, rubble of democratic and civic education, become restored and reassembled into endlessly creative, alluring furniture and sculpture.
Preus approaches his materials with a sensitivity, craftsmanship, and concern for artistry that esteems labor and craft. At the same time, his artfully repurposed works reference Surrealist assemblage and Duchamp’s Readymade. The transformative objects in The Relative Appetite of Hungry Ghosts provide hope that artistic ingenuity can revitalize and untangle even the most disheartening political messes.
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John Preus (b.1971) is a Chicago-based trans-disciplinary artist, designer and furniture-maker, amateur writer and musician. He holds a MFA from the University of Chicago. He founded Dilettante Studios in 2010 and co-founded SHoP with Laura Shaeffer (2011), Material Exchange with Sara Black (2005). Preus has fabricated for artists including Theaster Gates and Dan Peterman. He collaborated with Theaster Gates on the Dorchester Projects and was project lead for 12 Ballads for Huguenot House at Documenta 13. Preus will be the Kaplan resident at Northwestern University in 2016. He was Jackman-Goldwasser resident at the Hyde Park Art Center in the 2013-2014, an Efroymson Fellow in sculpture and installation, first place winner of the Maker grant, a finalist for the 2015 Artadia Award and 2014 Creative Capital grant, and a 2014 DCASE artist grant recipient. Solo exhibitions include the Heilbronn Kunstverein in Germany, The Hyde Park Art Center in Chicago, The Audible Gallery at the Experimental Sound Studio in Chicago, Montserat Art Academy in Beverly, MA, as a founding 2-person collaboration with Material Exchange at The Museum of Contemporary Art, Chicago, Threewalls Chicago, The Museum of Contemporary Craft in Portland, OR, and The Iceberg Gallery in Portland, OR. Group exhibitions include the Museum of Contemporary Art, Chicago, The Elmhurst Biennial, the Hyde Park Art Center, The Huguenot House in Kassel, Germany, and The Devos Art Museum in Michigan.
SPENCER FINCH:
Saturated Sight
JOHN PREUS:
The Relative Appetite of Hungry Ghosts
February 26 - April 16, 2016
