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Emergent

Power identities and fetish roles outstrip partner selections, manifesting carnal knowledge of the nth degree in Kim Ye’s open source locker room politics. Her performances are corporeal prescriptions: sculptures of desire, paintings of allure, installations and video which are bondage lairs, irresistibly inviting booby traps

Assimilations of constructed pitches waste away into an ad hoc arrangement of undifferentiated fields where wood, metal and any other material in percussionist Ted Byrnes’ striking range, weld, shred, transpose and invert into a microtonal cyclone that could undulate deadening silence. In what could be

Spanbock’s large formal controlled sweeps of the brush, laden with limited palette ranges, both engage with aspects of painting, particularly abstract expressionism, while refuting the emotionalism of the gestural movement. The paintings rely on the basics—color, stroke, materiality, and composition—but retain their identity as markers