November 2014, SomoS presents its Fall group show Saturation and Decay which focuses on the mechanics of temporality and the relativity of value. The artists are united by their approach to the poetics of discarded material desire and relics from collective memory, impermanence, and the broken. Their works become a source of sombre reflection and encourage a reexamination of nostalgia. Trash – symbolic of a saturated culture – emerges as a language of composition, resulting in an eerie amalgamation of past, present, and future.
Madeline Stillwell’s gestural sculptures incorporate unusual, often industrial materials, as well as trash from deserted urban commercial spaces. She exposes the dangers and difficulties of our daily mental and emotional navigation through the debris of past cultural spheres and concepts.
The tension between the rough and readymade aspect of her found materials and the finessed process of composition initiates a dialogue between the mediums of drawing, performance, and sculpture. In drastic contrast to the materials she uses, Stillwell follows a logic of texture and color which lends a painterly quality to her artwork.
Fascinated and bewildered by the passing of time, Nick Dewar uses an intrinsic technique of stressing and staining his canvasses. This symbolic process allows him to “simultaneously create and destroy: as the canvas is worn, the image reveals itself, giving the artist the satisfying ability to subvert the flow of time.”
Dewar’s art goes against the comforting notion of ars longa where art is of eternal relevance, acting as a repository for our values and taste. Instead, Dewar offers us art that superimposes layers of artificial decay upon interior objects that are already reminiscent of a decadent era.
Willi Tomes transforms almost-forgotten wastelands of pop cultural consciousness into landscapes that step beyond consumerist critique to manifest beauty in a refined composition.
With his sculptures, installations and “material paintings,” Tomes gives us a fresh interpretation of the artistic tradition of assemblage and Gustav Metzger’s Auto-Destructive Art.
Tomes’ art is marked by an aesthetics of violence and decay, as well as the titillating intellectual and emotional dimensions of our collective cultural memory. His creative, impulsive destruction transforms Lost Media such as records and their covers, cassettes and the glossy plastic waste of past household desirabilities into crudely reborn art objects.
November 14 – 29 2014 (Hours: Wed-Sat, 14h-19h, or by appointment)
Opening: November 13th 2014, 7-10pm
Flyer and Graphic Design by Otavio Santiago