David Castillo Gallery is pleased to present Tuttle, a group exhibition contextualizing work by Jenny Brillhart, Nicolas Lobo, Leyden Rodriguez-Casanova, Tom Scicluna, Molly Springfield, and Frances Trombly within the legacy of Richard Tuttle.
Like Tom Friedman and Thomas Hirschhorn, these artists’ work has been illuminated by this lodestar. The artists in Tuttle share Richard Tuttle’s affinity for familiar and discarded items, self-effacing assembly, and a demure yet cunning investigation of subject, methodology, and presentation. Tuttle eschews opulence and immediate gratification for deep-seated extrapolations of everyday images and materials-a labyrinthine echelon revealed only when the viewer exercises an intentional optical cognizance, or as poet and aesthetic philosopher Samuel Taylor Coleridge said, a “suspension of disbelief.”
Lobo, Rodriguez-Casanova, and Scicluna ask the viewer to abandon linearity for a belief in society’s fenestrated relationship to man-made systems. Lobo’s sculpture and installations deconstruct time and place. By re-creating paths, force fields, and trajectories, Lobo endows these conscious maneuvers with a sense of shape and permanence. Transformative Park / Private Sculpture renders graffiti located on a public sculpture at the intersection of NE 36th St. and NE 2nd Ave., Miami, into its own sculptural form. Lobo establishes the human eye as a fountainhead for further, multilateral inquiry. Rodriguez-Casanova also examines society’s value and habitation of place by calling upon architectural forms and commonplace objects. The found objects in Scicluna’s work are often grafted from the site of installation itself. Scicluna expects more out of objects, and demands to see beyond their obvious utilities to harmonious and diverse aggregates.
Brillhart, Springfield, and Trombly concern themselves with production methods in their work as a means to explore further than fixed form and function. Brillhart teases the instrument of perception by rendering mundane environments in oil paint with formal attention to aesthetic detail. Pink Wall-with its compositional simplicity and emphasis on surface, clarity, and materiality-invites the viewer to re-conceptualize banality. Springfield similarly elevates facileness to poetry by reproducing photo-copied book pages by hand, using graphite on paper. The texts Springfield highlights contain subtle but specific meaning, allowing the viewer to peer past analogue to originality. Often Springfield’s texts call attention to transformative moments in the history of images themselves. Trombly frames hibernating originality within tradition by re-creating consumer products by hand, using fabric. As in her solo show Thinking of Things, Trombly’s work in Tuttle uses overlooked objects to construct an alternate reality.
Tuttle contemporizes Richard Tuttle’s fascination with the surface modesty of the world at hand, as well as its embedded path toward the outer orbits of origin, application, and comprehension. Tuttle seeks the universal within the local, originality within production, and subtlety within form. Tuttle invites the public to see.