Clima Gallery presents Chassis, the solo show of Andrew Ross, until September 9th. The title indicates the supporting structure on which the parts of the car are engaged. The context of the exhibition is the operative process called Do It Yourself that either permits to build the object wanted with easily reachable materials and has its application in the popular practice of the hobby modeling, in which everyone is able to realize by himself what he wants following tutorials on the Web. This emerges from Fumance, placed in the second room, which is a homemade furnace conveyed to artwork. Through a series of gestures integrated in a fixed operative process, the artist warms up sheets of plastic used for small-scale models and then shapes them with common objects. When the molds are cooled, they empty out by a lift pump. The product is a hollow plastic shell.
The DIY is a behavior pattern well-established in the mass culture that finds its origins in the desire of the person of an identity enhancement. This individual tension is re-elaborated by Andrew Ross through his personal vision. In The Medium, which is a sculpture on the boundaries of the installation placed in the first room, the artist presents a being rough-hewed in its essentials components of the bones, whose superhuman essence is revealed by the presence of lightbulbs through the skeleton. Nearby this artwork there is The Jump, a sculpture that consists in a pair of shoes with remarkable size well-defined in their details which lean out of a base over a street occupied by trucks outlined in their essential shapes. Here, immediacy emerges the activity of the extreme parkour pursued by this superhero on the edge of the precipice. Despite the artist reproduces only a section of the mask, is spontaneous the connection to V for Vendetta from which follows a sudden identification with Anonymous, a group of activists on the web that originates from the idea of “shared identity”, which here is deprived of the political content.
Coming back to the first room, we can see that here is established a visual connection with the back room, where there is Untitled (vortex), an empty sculpture on a thin base. Apparently detached from the other artworks, this work is assimilated in the overall scheme, revealing the dichotomy between fullness-emptiness that conveys in the formal and substantial contrast between weightiness-levity of the subcultural dynamics revealed by the artist. Carving the emptiness of these plastic shells, Andrew Ross reveals, almost paradoxically, the vacuity and the inconsistence of the superhuman being that moves away from the Übermensch developed by Nietzsche, which is characterized by the desire for power and by the egoistic satisfaction which convey to an enhancement of the spirit, allowing a personal and social evolution. In fact, the condition of the superhero that the person of the mass society aim for is restricted to an aspiration, that is a sterile desire of redemption of his own identity that has either individual nor cultural concrete consequences.
In conclusion, the term of the title Chassis seems to refer to the basic structure of the semi-completive though developed by Andrew Ross about some subcultural dynamics that are inserted in the American society, of which are unveiled the inconsistency and the relativity. In fact, the mass culture is lacking the coincidence between reality and truth. The first term tends to be stretched by the filtered by a collective vision that warps it in an unpredictable way such as the plastic shells are barks unexpectedly deformed, but adherent to the artist’s vision, which lack of substance.
Chassis. Andrew Ross
24 giugno – 9 settembre, 2017
Clima Gallery, Via Stradella, 5
Sito web: http://www.climagallery.com
Photo: Marco Davolio
Sara Tassan Solet
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