Kenneth Zoran Curwood self-reflectingly states that he is “engrossed in sculptural mischief”, which is none but apparent in his current body of work. Curwood engages in optical illusion, spatial misrepresentation, and mind trickery while delivering a highly crafted object. He shows his flair for materials through such works as a three dimensional möbius (or Klein bottle) delicately composed out of human hair and aqua net, a slowly rotating snake eating its own tail fabricated out of a rain stick, or a bisected Nalgene bottle fused within by tic tacs and sugar crystals. Jumping between different modes of making, Curwood’s wit is a constant. This artist creates work based on an inside joke with his predecessors Nauman, Judd, Flavin, and Duchamp; all the while forging his own road.
Similarly employing a flip approach, the artist Alex Eagleton presents us with a lively set of new sculpture. Eagleton’s preoccupation with subverting seemingly banal household materials such as wall-to-wall carpeting or roofing tar, take on a fresh vigor in this pairing of work. The artist’s Greek heritage also plays a role as he recreates graffiti found on his frequent trips to Greece, using an air gun directly on the carpets. The result brings to mind stucco walls from a far away place or cave markings from a far away time. Equally cave-like are Eagleton’s textural paintings made with reflective silver roofing paint. Calling attention to the shiny titanium of our everyday gadgets, these paintings transform the reflective material into a new mode for expression. The artist will also be displaying a group of glassware which at first glance can be seen as formal or domestic perched on pedestals. While on closer inspection the viewer can gather they are recreational bongs that could never actually work. Fleshy in tone and color, these pieces are both animated and deflated, offering up a next level of anthropormorphisation.