Discrete Exit
sculptures, drawings, and an installation at Guest Spot Baltimore (2012)
Discrete Exit - exhibition shot with works by Carl Gunhouse and Gina Dawson
Discrete Exit - Box 1
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Discrete Exit - Box 2
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Discrete Exit - Painted Installation (bottom left of doorway)
Discrete Exit - exhibition shot with drawings
Discrete Exit - Drawing 1
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Discrete Exit - Drawing 2
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This body of work is made up of sculptures, drawings, and an on-site installation, all of which use the same achromatic, architectural visual language. The images featured here document a group exhibition curated by Rod Malin of Guest Spot Gallery in Baltimore in 2011.
The sculptures are small, wooden shadowboxes that reveal distorted views of obscured architectural spaces. Opaque panes of glass (that are commonly used in bathrooms) prevent direct views into these spaces, thus viewers become voyeurs into seemingly private spaces. Dominated by negative space, the drawings are copies of the interior architecture of the sculptures. These drawings fold the edges of these boxes down to expose the space that was once hidden. The increased scale from the sculptures to the drawings magnifies the painted spaces, suggesting that the translation from sculpture to drawing is a revealing gesture. However, the white space above the architecture reenforces an inability to totally see what lays within their frames. In the doorway between the two rooms of the gallery is a small painted installation that brings the geometry of the sculptures and drawings into architecture at full scale.
The sculptures are small, wooden shadowboxes that reveal distorted views of obscured architectural spaces. Opaque panes of glass (that are commonly used in bathrooms) prevent direct views into these spaces, thus viewers become voyeurs into seemingly private spaces. Dominated by negative space, the drawings are copies of the interior architecture of the sculptures. These drawings fold the edges of these boxes down to expose the space that was once hidden. The increased scale from the sculptures to the drawings magnifies the painted spaces, suggesting that the translation from sculpture to drawing is a revealing gesture. However, the white space above the architecture reenforces an inability to totally see what lays within their frames. In the doorway between the two rooms of the gallery is a small painted installation that brings the geometry of the sculptures and drawings into architecture at full scale.