FREELY AVAILABLE - WHISPERED ENCRYPTION - EXTRA FALSE MODELS - FROM SMART TO INTRUSIVE - OVER ALL SURFACES - COMPLETE SATURATION / SELF INDUCED - NON TERRITORIAL ENVIRONS - USED UP GLOBAL LIGHTING - CONTENT AWARE INFORMATION SCALING TOWARDS CORRECTIVE RATIOS - EVERY COORDINATE UNLEARNED - ALWAYS AGAIN OUTSIDE A SIMULACRUM -
REFRESH
ALL
DIALOGUES
-
LUXURY
SPACE
-
DECORATIVE DISASTER - ALL PRICE POINTS - ERRED INQUIRIES - HEAVY NETWORKS - CINEMATIC ENTRIES MULTIPLIED - AGITATED (DIS)COORDINATES - (RE) ORGANIZATION PLOT - GATEFOLD FIELDS - MAXIMIZED REPRESENTATION - REDUNDANT CONTENT DISTRIBUTION - REFERENTIAL ITERATIONS - NON SPACE (GEO)INDEXING PORTFOLIO - DELUXE OPTIC ELONGATING ALLOCATION ACTIVATION - NON COMMENTARY ON ALL HISTORIES ALL HISTORIES ON DISPLAY - FREE FORM RELEVANCE - PROJECTED ONTO ALL TERRITORIES - 24 HOUR FEED SEQUENCE OF THE NON IMAGE DELUXE - REOCCURRING FRAMEWORKS
-
LINEAR
REDUNDANCY,
LINEAR
STAGNATION, LINEAR REGRESSION - ALREADY WITH...
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INCONGRUENT MAPPING RESPONSES - VERTICAL TO HORIZONTAL ASSOCIATION - REMEMBER, CORRELATE, ANTICIPATE - ALREADY A RESPONSE - DELIBERATE REMAKING - DISTINCT ZONES MULTIPLIED - CAPABILITY TO “SAVE & CONTINUE LATER” - PRIMACY OF LANGUAGE MOMENT OF PAST ERROR - EXFOLIATING OUT DIFFERENT FORMS - REALITY OF THIS CIRCUMSTANCE - EMBEDDED IN A LARGER SURROUND - ARCHETYPICAL INTERIOR GEOGRAPHIES - SEARCHING SIMULATING PROCESSES - CONTRARY REMEDIATION SEQUENCES - BEYOND THE (RE)PHRASED LANDSCAPE - SPACIAL EXTENSIONS - NON IDENTITY RESEMBLANCE
- TENDENCY TO
GRAVITATE - MENTAL CONNECTION OF - SELF MODELING - AUTO SIMULATE - IMAGE SCHEMAS
- FIGURE XX -
SITE TYPE AS HORIZON - STILL TIME EXPIRED - ZERO PERCENT DOWN - REAL UNLIMITED NON SPACE (DIRECT MESSAGE) - 100% HYPER NON NARRATIVE ILLUSION - NO HOPE FOR MEANING - BEHIND THE STRUCTURE -DISTORTED RESEMBLANCE - TRUE MANIFESTATION HISTORICAL DEPTH ERASE - PREVIEW THE NEW COMPOSE
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“Thus, metabolic speed and technological speed constitute the vectors of the ‘message’; information proving to be the final (terminal) product of a particular sort of illumination of the real (speed of light and light of speed) as well as of an intensive illumination, the increase in the speed of displacement equivalent to the darkening of the sense. Thus, just as, on the hand ‘excess light’ dazzles, and, on the other hand, the super-imposition of increasing luminous intensities results in darkness, ‘excess speed’ corresponds to a progressive loss of information content, of its value. If yesterday, as we have seen, the value of the transmitted message depended upon the speed of its delivery, today cumulative instantaneity tends to separate the message from it’s value or at least, to accelerate its obsolescence.” Virilio, Paul. Negative Horizon. Continuum: London, New York, 2006. Print.
“The only question in this journey is: how far can we go in the extermination of meaning, how far can we go in the non referential desert form without cracking up and, of course, still keep alive the esoteric charm of disappearance? A theoretical question here materialized in the objective conditions of a journey which is no longer a journey and therefore carries with it a fundamental rule: aim for the point of no return. This is the key. And the crucial moment is that brutal instant which reveals that the journey has no end, that there is no longer any reason for it to come to an end. Beyond a certain point, it is movement itself that changes. Movement which moves through space on its own volition changes into an absorption by space itself - end of resistance, end of the scene of the journey as such.” Baudrillard, Jean. America. Verso: London, New York, 2010. Print.
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The Image and The Landscape as Indistinguishable This point of rupturing forth forever is projected onto the spectator wading through it. Caught in it as one becomes apart of it. One gets so involved while looking out beyond this moment while still staying so entrenched in it. Maximizing the ability to be ripped apart while experiencing multiple perspectives at once. Born out of broken screens. Re-born, re-imagined, and searching out the frantic fragmented screens of this new update. The Landscape revolts. All we can imagine is a fantasy revealed in some negative space along sharp edges that align, exaggerate, and expanded continually. The scale is manipulated, the quantity multiplies, color is amplified over our bodies: minimized, reduced, and disappearing. Vanish completely through the surface of the image as a breakable façade shatters, cuts, and spreads out to absorb all possibilities. A divorce from the landscape into‌ The agitating folds and illogical contours? Or the broken screens as shattered surfaces? It is all rupturing and littered with debris. Now the composition is a completely inconsequential territory. Adjust to the possibility of any experience taking place here. We navigate away from the present experience only to get stuck behind the next, so stackable and tiered. En route to a finalized image as all maneuvers become memorized. Everything remains all to fragmented. Promoting the ability of the frame to absorb too much. Additional entries will be provided at infinite points. All boundaries are established momentarily then liquified. Messages flash instantaneously and then disappear into the scenes that have been replaying over yet again. Was this extracted from all histories that were not captured in enough detail? Infinite tangential routes explored. Emptied zones occupied within a frozen time now become navigable. Relevance is completely lost as the same points get reiterated over and are concluded before being placed back in multiple locations throughout.
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R e a li t y / Mind / Embodiment / Post Humanity Ti m e s / S p a c e s / Movements / Landscapes / Transgressive T r a n s f i g u r ed / Redundant / Multiplied / Fragmented N e t worked / Simultaneous / Vectors
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“ … i n t e r i or model of the immediate surround … s e e i n g a s a collapse of this quantum vector … r eality as a naive concept… “ ( T. McKenna)
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D i s t i n c t Z on e s I II ( X 2 0 ) 2014
collaged screen print assemblage 10 x 12�, framed
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Fr e e l y A v a i la b l e 2014
collaged screen print 13 x 15�, framed and matted
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D i s t i n c t Z on e s I I ( X 2 0 ) 2014
collaged screen print assemblage 13 x 15�, framed
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Fr om S m a r t T o In t r u s i v e 2014
collaged screen print 11 x 13�, framed and matted
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D i s t i n c t Z on e s ( X 2 5 ) 2014
collaged screen print assemblage 11 x 13, framed
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Reme m b e r , C or r e l a t e , A n t i c i p a t e 2013
collaged screen print 8 x 10�, framed and matted
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D i s t i n c t Z on e s ( X 3 0 ) 2014
collaged screen print assemblage 10 x 12�, framed
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Fr a c t u r e d C a u t i on a r y S i g n 2013
collaged screen print 8 x 10�, framed and matted
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D i s t i n c t Z on e s I V ( X 2 0 ) 2014
collaged screen print assemblage 12 x 15�, framed
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Fa l s i f i e d E x p e r i e n c e 2014
collaged screen print 11 x 13�, framed and matted
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D i s t i n c t Z on e s V ( X 2 0 ) 2014
collaged screen print assemblage 11 x 13�, framed
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A b out the materials u s e d
The screen prints are acrylic ink on paper collaged using neutral pH adhesives. Assemblages are constructed out of archival matte board with pH adhesives. All frames use archival mattes and Conservation Clear glass with 99% UV protection.
M a rk Price’s work has been featured in group exhibitions at the Yerba Buena Center for the Arts in San Francisco and the Institute of Contemporary Art in Philadelphia. In 2009 his work was selected by curator Aaron Betsky for inclusion in the internationally recognized Confines exhibition at the Institut Valencia d’Art Modern. He lives and works in Philadelphia.
work on view may 3 - august 10, 2014 artist reception may 10, 2014 monday through thursday 11am - 7 pm friday and saturday 11am - 6pm sundays by appointment
frame works studio & gallery 2103 walnut street philadelphia, pa 19103
215 • 567 • 6800 fwsgallery.com fwsgallery@fwsgallery.com