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This new body of work by JUDITH KAKON evokes the artist’s interest in vision, both as the literal act of viewing and the idea of imagination. Her investigation typically starts with common objects. A series of foldable ramps used to facilitate access through doors over stairs are altered, re-purposed, and lacquered.
Unlike many historic artists, whose intervention on common objects hinged on a change of scale (Oldenburg), material (Koons), recognizability (Chamberlain), context (Warhol), Kakon chooses subtraction and formalization. The ramps are almost identical to their real counterparts except for their systematic repetition and their compliance to a new and systematized palette: They are collaged together into polyptych of various grays; their functionality is compromised by being placed vertically. Moreover, Kakon cuts away large parts of the ramps, leaving squared holes where matter used to be.
The common object is imagined as something that leaves space for a...More
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Press Release
This new body of work by JUDITH KAKON evokes the artist’s interest in vision, both as the literal act of viewing and the idea of imagination. Her investigation typically starts with common objects. A series of foldable ramps used to facilitate access through doors over stairs are altered, re-purposed, and lacquered.
Unlike many historic artists, whose intervention on common objects hinged on a change of scale (Oldenburg), material (Koons), recognizability (Chamberlain), context (Warhol), Kakon chooses subtraction and formalization. The ramps are almost identical to their real counterparts except for their systematic repetition and their compliance to a new and systematized palette: They are collaged together into polyptych of various grays; their functionality is compromised by being placed vertically. Moreover, Kakon cuts away large parts of the ramps, leaving squared holes where matter used to be.
The common object is imagined as something that leaves space for a...More
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