Tim Griffin on Wade Guyton. (First Take).WADE GUYTON HAS REFERRED TO HIS SCULPTURES AS drawings in space. No doubt this assertion has something to do with his three-dimensional works' frequent status as studies. (Indeed, in the past couple of years Guyton has made a number of pieces individually titled Fragment of Sculpture the Size of a House, each corresponding to a structural component of the suburban home the artist intends to construct and paint completely black, sometime in the future.) Yet his statement has as much to do with the physical character of the objects, which can seem crudely superimposed su·per·im·pose
tr.v. su·per·im·posed, su·per·im·pos·ing, su·per·im·pos·es
1. To lay or place (something) on or over something else.
2. on space, at once underscoring the sculptural aspect of seeing and demonstrating Guyton's interest in the dynamics of sculpture transposed trans·pose
v. trans·posed, trans·pos·ing, trans·pos·es
1. To reverse or transfer the order or place of; interchange.
2. across media. In his "Fragments," 2000-, for example, the artist inserts into the gallery environment a large aluminum-and-plywood plane whose irregular geometry and matte black surface interrupt the sight lines and flow of light through the room. The object's severe angles are totally incongruous with the surr oundings, composing a form that apparently slices through space or, more accurately, blots it out like ink on paper. It's a brilliant kind of dead-zone sculpture: If Gordon Matta-Clark Gordon Matta-Clark (June 22 1943 – August 27 1978) was an American artist best known for his site-specific artworks he made in the 1970s. He is famous for his "building cuts," a series of works in abandoned buildings in which he variously removed sections of floors, ceilings, generated disruptions of space by eliminating portions of the built environment--incising the walls or floors, even chainsawing an entire house in half--Guyton does the same using an additive process.
Inspired in part by the odd flattening of his sculptures when they are reproduced in pictures, the artist has lately made a number of "printer drawings," which will appear in March at Artists Space in New York New York, state, United States
New York, Middle Atlantic state of the United States. It is bordered by Vermont, Massachusetts, Connecticut, and the Atlantic Ocean (E), New Jersey and Pennsylvania (S), Lakes Erie and Ontario and the Canadian province of . These consist of simple patterns printed on photographs taken from art and interior design books of the '70s and '80s. A massive X hovers above viewers contemplating a Minimalist sculpture in a gallery at the Walker Art Center in one drawing. In another, a sequence of Xs runs across the image of a public sculpture by Charles Ginnever. (Guyton marks the spot of his art-historical origins and defaces it at the same time.) Elsewhere, one sees how the page might be considered simply one more viewing plane in space: Some drawings depict Xs to be placed in windows, blocking the perspectival view, crossing out the landscape as if it were merely a picture. Paper becomes glass, while art history, re-presented in Guyton's copies, turns into decor.
Decor is nothing if not desire sublimated sub·li·mate
v. sub·li·mat·ed, sub·li·mat·ing, sub·li·mates
1. Chemistry To cause (a solid or gas) to change state without becoming a liquid.
a. into the living environment, and Guyton's works, which are often strangely anthropomorphic Having the characteristics of a human being. For example, an anthropomorphic robot has a head, arms and legs. , harbor deep psychological charges. The inanimate borders on the animate, whether objects or art history. The dead is somehow alive in Guyton's hands. Perhaps that tension arises from the artist's youth. Raised on slasher slash·er
One that slashes.
Characterized by gory violence: slasher movies.
Austral & NZ flicks--as a child in the '70s, every Friday he went with his parents to the drive-ins around Knoxville, Tennessee--he admits that his project for a suburban home may have been partially inspired by the bucket-of-blood thriller The Last House on the Left. The shining blades of other such celluloid celluloid [from cellulose], transparent, colorless synthetic plastic made by treating cellulose nitrate with camphor and alcohol. Celluloid was the first important synthetic plastic and was widely used as a substitute for more expensive substances, such as dwellings also come to mind when one considers Guyton's columns made of vertical strips of black Plexiglas and mirrored acrylic in gold, smoke, and bronze. The angular works seem to have knifed up violently through the ground. And, as viewers move, reflective surfaces make the sculptures seem to expand and contract as if alive, both consuming architectural space and d isappearing into it (with murderous logic).
If there's a telltale heart buried within this practice, one photographic diptych from 1999 might be it: The pair depicts the Devil's Hole
Devils Hole is a deep limestone cave filled with water of approximately 30°C (86°F). , a small cavern in Tennessee. The deep focus on rippling rock surfaces makes the pictures verge on abstraction, and lurid inflections of red light and sub-zero flecks of turquoise create a pictorial paradox, with the tunnel at once cold and hot. Stark walls seem sensuous, providing an analogy for all of Guyton's work, which resuscitates a Minimalism minimalism, schools of contemporary art and music, with their origins in the 1960s, that have emphasized simplicity and objectivity. Minimalism in the Visual Arts
whose heart is still beating under art history's floorboards. Guyton may have made photographs in caves, but there's no way he'll remain underground for long.
Tim Griffin is associate editor of Artforum. A poet, critic, and curator, he is the author of Contamination (Alberico Cetti Serbelloni Editore, 2002), a collection of essays on art, architecture, design, and technology, produced with Peter Halley Peter Halley was born on September 24, 1953 in New York City. He is an abstract artist. Halley first came to prominence as a result of the geometric paintings rendered in intense day-glo colors that he produced in the early 1980's. .