In his second solo-show in New York, Brion Nuda Rosch uses collage and sculpture with rash and hushed demeanor, fabricating found book pages and everyday materials to deface banality and cultural value. Layer by layer he investigates form, shape and process, forging a narrative between objects and images.
The work seems to embrace nostalgia like memorabilia, but subverts the past like a daydream. In “Cucurbitaceae on Sculpture” he – quite literally – defaces a print of an unknown modern sculpture by gluing over it a Halloween-esk squash painted with white eyes and a few teeth.
His collages act as pictorial cross-examinations, reducing images to elemental gestures while unearthing a conversation between subjects in the way William S. Burroughs did in his “Cut-up” techniques in literature. Like Burroughs’ “Cut-ups”, Brion’s work is reminiscent of the Dadaists, sampling from the everyday to create meaningful and meaningless portraits of the ordinary, or sometimes the remarkable. Like sophisticated, or formative shoplifting.
Some of Brion’s paperworks suggest the early Quaker experiment of prison reform, where inmates were hooded and gagged, put in solitary confinement for years on end.
They were kept in stone cells with an opening at the ceiling to let the good lord in and redeem their misdoings. Instead people just went mad, yet much of the world continues this idea, AND, with much research on the subject I found no evidence of oatmeal being distributed. Imagine being waterboarded in buckets of oatmeal…anyway, now compare Brion’s work:
See it? See it? Spooky.
Brion Nuda Rosch is on view at DCKT Contemporary through March 10 on 21 Orchard Street in New York.
And here’s one for the road:
Contributed by Dean Dempsey.