Sep 30, 201310:59 AMPoint of View
The METROPOLIS Blog
Sketches on the Connectivity of Art: Part 2
(page 2 of 3)
Albert Oehlen, 'Untitled', 2011
Courtesy def image
When I extend these ideas further into visual fields, I see Marco Fusinato’s piece “Mass Black Implosion” as a fantastic visualization of noise. In this work, the artist “liberates” traditional context and forms by showing us a classic notation that implodes into eternity, projecting hundreds of acoustic particles in all directions. It frees sound from structure and visually creates a ground zero where everything hits the viewer at once--a notation that stretches into eternity with endless power. Like the big bang, it becomes a life-giving force that hints at a future with infinite possibilities.
Sterling Ruby, 'Deth Till', 2008
Courtesy Saatchi Gallery
It’s easy to equalize noise with destruction. I find it way more interesting to highlight the quality of its absolute, singular thought which, incidentally, is the essential quality of simplicity: constructing the absolute, uncompromising one-ness that fulfills all experiences and perceptions. For example, to me, Rick Owens “Half Box” marble chair is a solid piece of noise. It’s a one-ton cloud as a chair—singular, unbending and absolute—a ruthless blast of non-functionality that can be neither moved nor comfortably sat on. A force that inspires our imagination whether we like it or not. Sou Fujimoto’s 2013 Serpentine Gallery Pavilion is noise we can walk into and explore endless levels and surfaces that appear without a purpose, undefined and ever changing in an array of light beams and structural discord. It’s a weightless beast whose seduction one cannot resist.