10.14 - 10.17.17
at 2C, an in-home gallery, New York, NY
From the Press Release:
We tend to understand things as they are – things as things. In Thus Far Gone, Vermont-based artist Angus McCullough suggests we look again at materials, that we reassess their potential and value. McCullough interprets materials generously, working with them in as many ways as possible and iterating from one project to the next.
McCullough’s Collar Harps are studies in assembly, made by bending a thin steel rod into a shirt collar to create a tense equilibrium of push and pull. Wrought in a single gesture, these minimal portraits are in the middle of material experimentation, not unlike the brightly colored Dirt Moisture Theft sculptures also on view. Each sculpture is made as McCullough injects expanding foam into frames stretched with an industrial-grade plastic shipping material similar to cellophane. As the foam expands, McCullough manipulates its shape by cutting, cinching and folding. He improvises as the foam does its work, then leaves each piece to settle before painting it.
If we take the artist at his word when he says this process involves plenty of neglect, then McCullough’s site-specific assemblage reveals more care. Collected Material makes clear the focused accumulation of matter, resources and time. As Collected Material leaves all traces of its process to be seen, works in the Carbon series create a conceptually similar index of duration. Harvested from studio surfaces and scraps, the series registers and extends McCullough’s temporal narrative. The delicate works and their relation to the rest of the exhibition remind us how time accumulates in material, all around us.