For Untitled, Caesar encased recycled objects such as scraps of plywood, paper or cloth in resin and then cut and reassembled the pieces into abstract forms. This technical rework allows for a clinical inspection of the material contents of the piece and the resulting slanted industrial monolith echoes minimalist sculpture, although with a different expressive texture. Indeed, Untitled can be seen as a contemporary pyramid with a painterly surface. Its transparency reveals that the base and the top have been created out of a single cast piece cleanly bisected into two fragments which were subsequently placed—as if in a mirror—so that both sides of the split are visible.
Jedediah Caesar is more interested in the materials and the process of making a work than in the actual final aesthetic product. Most of the time he begins with a collection of found objects, which he encases in resin, often using cardboard boxes as a molds. The resulting casts are then cut into blocks, flat slices and other shapes—cross-sections of the original objects that nullify their original function and form and transform them into a new kind of material. While the resulting geometric sculptures and the industrial process involved in making them may recall minimalist practices from the 1960s, Caesar’s “metaphorical rebirth” of the materials also gives them a strong, expressive abstract character.
After being cast, the resulting resin block used in JCA-25-SC was cut into thin slices obtaining a series of rectangular shapes that resemble ceramic tiles...
Blindseye Arranger (Max) (2013) features a greyscale arrangement of rudimentary shapes layered atop one another like a dense cluster of wood block prints, the juxtaposition of sharp lines and acute angles creating an abstracted field of rectangular and triangulated forms composed as if in a cubist landscape...
Pablo Rasgado’s paintings and installations serve as a visual record of contemporary urban human behavior...
Gabriel Kuri has created a series of works in which he juxtaposes perennial and ephemeral materials...
With Roca Carbón (Charcoal Rock, 2012) and Roca Grafito ( Graphite Rock , 2012), López plays with our relationship to inert and unremarkable objects such as rocks...
With a habit of reading eight to ten books at the same time, Chong paints his two-foot tall novel covers through referencing an extensive reading list (accessible on Facebook) he has kept since 2006...
Wright Imperial Hotel (2004) is a sort of bow and arrow made out of feathers, a São Paulo phone book, and other materials...
Masks is a series of abstract paintings by Simon Fujiwara that together form a giant, fragmented portrait of German Chancellor Angela Merkel’s face...
With Roca Carbon ( Charcoal Rock , 2012) and Roca Grafito ( Graphite Rock , 2012), López plays with our relationship to inert and unremarkable objects such as rocks...
The first iteration of Flutter was specifically conceived for the Pro Arts Gallery space in Oakland in 2010, viewable from the public space of a sidewalk, and the version acquired by the Kadist Collection is an adaptation of it...
The work Calendars is composed of 1001 images of deserted public areas in Singapore printed on pages of a calendar set from the year of 2020 until 2096...
Relying on repetition and repurposed materials, Soares works to interrogate time—its measurement, its passing, and its meaning...
Composed of four images, the series Sleeping Elephant in the Axis of Yogyakarta (2011) explores the artist’s observation of how Javanese mythology and cosmology have marked the geography of Yogyakarta, the cultural centre of Indonesia...
In No Title (Blue Chapel) Therrien has reduced the image of a chapel to a polygon...