Sign #1 , Sign #2 , Sign #3 were included in “Found Object Assembly”, Copeland’s 2009 solo show at Jack Hanley Gallery, San Francisco. These rather austere collages were created by simply cutting and inverting the text from existing information signs. In Sign #2 , for example, the original image that presumably carried the message “NO RIDERS” was placed upside down. By cutting out some of the syllables and inverting and rearranging them, the message was rendered unreadable. By maintaining the overall integrity of the signs and their most legible visual characteristics (luminescent color, bold font, size and rectangular format), Copeland’s collages obscure language in favor of a “delirious optical disorientation.”
Bjorn Copeland (along with his brother Eric) is an original member of Black Dice, an experimental/noise band associated with the thriving musical movement around the Rhode Island School of Design (RISD) in the late 1990s. Not surprisingly, Copeland’s visual practice is connected to that music scene, most obviously in his use of psychedelic designs associated with concert flyers which deploy hypnotic, almost acid-driven pop referents in a certain “op” manner. In many of his recent assemblages and collages, Copeland reuses discarded products, accumulated and found debris, as well as product packaging. As with his music, he rearranges and re-composes these preexisting structures, building complicated and intricate abstract patterns that aim to disorient and play with the viewer’s perception.
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
Human Quarry is a large work on paper by Leslie Shows made of a combination of acrylic paint and collage...
A Flags-Raising-Lowering Ceremony at my home’s cloths drying rack (2007) was realized in the year of the 10th anniversary of the establishment of The Hong Kong Special Administrative Region of the People’s Republic of China...
The Last Post was inspired by Sikander’s ongoing interest in the colonial history of the sub-continent and the British opium trade with China...
Houck’s Peg and John was made as part of a series of photographic works that capture objects from the artist’s childhood...
Open Mind is a model created by Capote for a traversable public maze that, when seen from above, resembles the human brain...
Gabriel Kuri has created a series of works in which he juxtaposes perennial and ephemeral materials...
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
Telescopic Pole is an adjustable telescopic pole that extends vertically from floor to ceiling and is held up by its own internal pressure...
Kwan Sheung Chi’s work One Million is a video work depicting the counting of bills...
Iron Sorrows (1990) brings together what are for Alexis Smith common motifs and materials such as scavenged and repurposed metal, and street signage...
Itch explores the relationship between technology and daily human experience with a motorized arm that extends from within the gallery’s wall, moving up and down while holding a projector that shows a desperately scratching pair of hands....
The Possibility of the Half by Minouk Lim is a two-channel video projection that begins with a mirror image of a weeping woman kneeling on the ground...