"But except in dreams"
May 30th - July 12th 2018
Opening Reception : June 7th 6-8pm
+81 Gallery : 167 Elizabeth Street, New York, NY 10012
Hours : Wednesday - Sunday 12-7pm
These two series, aesthetically at opposite ends of my range of work, share a common ongoing exploration of "low" materials, and processes typically associated with design, construction, carpentry, and wood working. Prior to beginning the work I construct an equation that will determine fixed elements and variable elements, the result being a looser process freeing the work from being overthought.
BLUE GREEN GOLD PAINTINGS
"Baby, I don't want to know..."
"Really, I don't want to know..."
Enamel on OSB 96" x 96"
The blue/ green/ gold paintings, are the progression of my large construction shed paintings began in 2015, which referenced construction site fencing, construction practice and materials. The paintings utilize the typical colors used specifically for construction sheds, as well as the same application process, being exclusively a paint roller. This new work breaks from the previous work in this series by changing from brush painted paintings to roller applied paintings, and the introduction of gold leaf, which is also applied via paint roller. Adhering to a typical 8" grid to define a double panel unit (two 4x8 sheets of OSB, 8' x 8') and constructing an equation to limit the process. The equation thereby serves as a substitution for improvisation while defining the composition. These fixed parameters are offset by variables such as paint load, roller rate, roller speed, and application pressure. The resulting work is about the tension created by the opposition of these fixed and variable elements.
BLACK MDF WORK #1- #12
series title : "seeing how boring it gets"
3/4" Black MDF 13.75" x 13.75"
This series of objects follow a similarly constructed equation, one material, 3/4" black MDF, with the composition in most part being dictated by one dimension (1.75"), followed by an angle cut to produce a repetitive element. To do this, I use one tool, a table saw. The variable being how fast or slow I push the material through the saw blade, this dictates the "cut surface" and the mark left on the material, and contrasts with the materials "uncut" smooth surface. The "frame" also adheres to the equation, sharing the same material, angle cut, dimension and cut surface to smooth surface. This equation frees me in some part, but ultimately pushes toward obsessiveness.
Chris Rucker graduated with a degree in sculpture from the University of Connecticut in Storrs, where he also grew up. He's been working in design+build since 1996 in New York City, currently with the firm RHDprojects located in Brooklyn, NY.
In 2016, Rucker was the first American artist invited to create an installation at the Made in Cloister art and design center in Naples, Italy. His work resides in the private collections of Steven Klein, Dennis Freedman, Neville Wakefield, Camilla Nickerson, and Madonna.
For additional information, please contact : firstname.lastname@example.org