The Field as the Frame, The Rake as the Raster • group exhibition

May 11th - June 2nd 2012, AlterSpace, San Francisco. Curated by Matthew Endler.
Exhibited with Bryan Morello, Nico Colon, Dean Schneider, Joel Dean & Jason Benson and Matthew Endler.

“The Field as the Frame, the Raster as the Rake,” is a local survey of artists investigating perceptions of physical space and objecthood in today’s surroundings of acutely mediated experience. Rasterization, the process from which the title of the show is inspired, describes the horizontal pattern in which monitors refresh their imagery. In software graphics, it is the process in which visual objects through the screen are hardcoded, or “baked” into an image format to then be plotted by a printer. The word is derived from a rake called a rastrum, used upon soil to grid out the landscape for farming. Using this etymology as a prospect for spatial analogy between the coded environments within the interactive screen and the material environments in which the body finds itself, the artists involved translate their work between the material and the immaterial. The body in space in the act of looking, the presence of physical objects and their inferred presence through imagery, and the dynamic between present moment and mediated past event are qualitative relationships that are explored through installation, sculpture, animation, painting, and photography. To cast light on the individuality of embodied experience, each artist will be drawing out their own phenomenal engagement with materials, media, and space.

Taking the directive of much post-minimal sculpture and painting from the 60s and early 70s, the show places value in the art object’s material expression and facture as opposed to a given formal style. Historically, however, this demonstration of the embodiment of space and its physical limits has a tendency of boiling material experience down to an essence in opposition to symbols and images, and in doing so it fails to describe the full relationship between language, identity and sensory experience. Embodied individual experience in the material world is filtered by our symbolic constituencies of identity, mythological beliefs, and personal expectations and does not exist in an empirical void. “The Field as the Frame, the Raster as the Rake” performs within the media ecology that naturally absorbs and shifts meanings through it, where both direct, and indirect, material, and immaterial, embodied, and disembodied techniques are woven together.


The Field as the Frame, The Rake as the Raster
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