Jul 20th 2013

Erik Frydenborg builds constellations of interrelated objects, creating oblique narrative environments. His sculptures often resemble abstractions of natural history displays or educational models, exploring the effects of omission on such forms by stripping them of contextual clues and language. Operating like a specialist in the morphology of his own modified and handmade objects—fossil-like casts, eccentric machines, scrambled scholastic graphics, and ambiguous exhibition architecture—Frydenborg explores a formal syntax that merges classification and subjectivity.
Using various modes of replication—mold making, scanning, and printing among them—Frydenborg produces compositions from samples of de-commissioned materials. Tracing and manipulating conventional details of junked objects and images, Frydenborg reconstructs their component parts, conjuring queasily unfamiliar surrogates. For Frydenborg, recording and reproducing data– and highlighting variations in the copy from the original—are analogous to the processes of time’s distorting effects on memory and understanding.
And while Frydenborg’s work often revisits remote legacies of assemblage and sculpture—quoting or resembling the mechanical lyricism of early Surrealists, or the unornamented physicality of Post-Minimalism—his project is ultimately a broader investigation into idioms of display, coded languages, and the peculiar challenges of interpreting the arcane.
Erik Frydenborg lives and works in Los Angeles. He received his BFA from the Maryland Institute, College of Art, and his MFA from the University of Southern California. His work has been reviewed in Artforum, Flash Art, and the Los Angeles Times, among other publications. Frydenborg’s work recently appeared in Set Pieces at Cardi Black Box, Milan, Italy, Art 43 Basel: Statements in Basel, Switzerland, and in the solo exhibition Dr. (illegible) at Cherry and Martin, Los Angeles. His work will be featured in upcoming exhibitions at Night Gallery and Public Fiction in Los Angeles.

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