Press Release | Images
IAN UMLAUF: FEARFUL SYMMETRIES
May 24 - June 30, 2012
Opening Reception on Saturday, May 26 from 6-9 P.M.
EXHIBITION EXTENDED THROUGH JUNE 30, 2012
Track 16 Gallery is pleased to present Fearful Symmetries, an exhibition of work by Ian Umlauf. The exhibition runs from May 24 through June 16, 2012 with an opening reception on Saturday, May 26 from 6-9 P.M.
The work of Brooklyn-based artist Ian Umlauf has ranged significantly in media and content over the last several years. What unifies the body of work presented in Fearful Symmetries is the artist's ongoing investigation of mediated imagery as it interrupts, envelops, and melds with the viewer's subjective spaces, both physical and psychological.
In his series of drawings, Dead Drive-Ins, Umlauf appropriates aerial satellite imagery of defunct, abandoned drive-in movie theaters. Initiated by a floating, technological eye, and traversing an intangible series of digital and analog translations, the images finally arrive as ink on paper landscapes. What is ultimately at stake in this sped-up American archaeology is the information loss that is entailed in cultural amnesia.
17 Photographs, or An Incident in the Park consists of 17 black and white contact prints, each re-representing a photograph from Antonioni's 1966 film Blow-Up. In co-authoring the protagonist's blown-up snapshots from a casual weekend outing, Umlauf confounds the public and private, the abstract and representational, and most pointedly, the original and copy.
Perhaps the most playful and intuitive works in the exhibit, the collectively titled MR/DE collages employ found photographs in reconfigured, formalized settings that serve to heighten the peculiarities of the photographs' subjects, while interrupting the original narrative flow in often surreal and comical ends.
In his recent, ongoing teparu project, Umlauf uses discarded hollow-core doors as his primary medium. By cutting and reorganizing the doors into new configurations, and integrating inkjet prints and found posters into the mix, the artist challenges the viewer to adjust, reconsider, and adapt their relationship to simple objects and imagery.
As Umlauf states, "By forcing certain formal relationships between ungrounded images and their hybrid supports--often based on mirroring, overlaying, and duplicating–the works propose a series of visual conundrums, gradually unfolding in time, but ultimately reflecting in on themselves."
For more information or images, please contact Laurie Steelink.