April Childers’ sculptural installations combine familiar objects in unfamiliar ways, imbuing them with both morbidity and cartoonish humor. This process conjures and deceives the audience’s expectations for desire or repulsion. Using diverse source material (taxidermy, Snapple bottle, UFO’s), Childers reflects on the nature of shared experience, the roll it plays in defining how we conceive of the everyday, and other simple things like life and death.
Through an examination of building surfaces and their hierarchies of ornamentation and relief, Max Warsh collages images peculiarly reminiscent of amateur photography, the flâneur, and cubist perspectives into skins patterned by cultural and architectural detritus. Eschewing the flatness and opacity of images and walls, the photographs contained within these works buckle and exfoliate from weak substrates and porous surfaces. They resurface the building within which they hang, activating a narrative of looking through, rather than looking at.
Each artist disrupts and distorts the language of their medium for content latent but often difficult to extract. The role of perception is employed as a strategy to re-pattern collective cognition and establish different common denominators for experiences that escape the initial reading of the source material.