Galerie VidalCuglietta is pleased to present the new solo exhibition of Brussels-based Canadian artist Zin Taylor, The Voids. Using a familial arrangement of forms, the installation constructs a line of thought between quotation – as the place of a scenario – and the language of the hand-made – where differing pronunciations of a word encourages the growth of narrative possibility.
A series of fabricated brass vitrines cubically accommodate a hundred-plus objects of plaster, wood, plastic, and clay that have been fashioned into a series of terms: Knives, Hands, Spectacles, Instruments, and Forms. Taxonomically arranged, each of the structures presents a categorical abstraction of thought into form.
– Forms to make the thoughts
– Knives to cut these into units
– Hands to hold the units
– Spectacles to look at these units
– Instruments to serenade these units
Within the installation the void is approached as a place of unknown-ness: a room in a cottage, within a timeshare rental, on the sea. The metaphor of the foreign house is a situational tool: the four walls of this room define a location where thoughts emerge and take presence. These thoughts generate an object’s background by intersecting with its present in order to suggest a future use.
Accompanying these 4 brass-object sculptures, a series of eight wood-block prints – white ink on black paper – propose advertisements for future events. The spaces (voids) on a poster used to administrate text & image have been adapted into a language of new forms: 26 improvised printing blocks interchangeably layered to produce compositions of blankness. Highlighting a choreography of promotion, a set language of forms is employed composing space for the promotion of unthought information.
Zin Taylor’s work explores the development of form as a densely layered process akin to organic growth. Within this approach Taylor addresses the cultural environment as a construction site where narrative structures are raised, explored, and abstracted. The resulting works use associative thought as a mate- rial, developing sculptural-narratives – across an array of media – to assemble literal and metaphorical spaces of difference for an investigated subject.
The Bakery of Blok and the Three Forms of Unit (2009), presented at Miguel Abreu Gallery, NYC, assembled a narrative of transformation generated from a metaphorical group of eight abandoned blocks of wood from a closed bakery. The blocks of wood became tools for populating their environment with other forms while form itself is depicted as a self-reproducing character in a plot where pieces of dough re-animate into living beings. With the 2006 installation Put Your Eye in Your Mouth: a conversational documentary recording Martin Kippenberger’s Metro-Net Station in Dawson City, Yukon Taylor used the form of a broadcast-length documentary to translate an ephemeral discussion into a narrative scenario exploring an alternate history for a public structure. The 2008 project The Crystal Ship used an invitation from a 1969 exhibition to serendipitously connect Marcel Broodthaers, non-profit spaces, underground tunnels, and gestures of protest, to the production of a crystalline form.