Damien Gilley, Midori Hirose

Damien Gilley, Infinity Games

Midori Hirose, Boners and Blobs

The Independent

by Daniel J Glendening

The Independent presents a two-person exhibition, pairing the sharp geometries of Damien Gilley with the amorphous forms of Midori Hirose.

In Infinity Games, Gilley gives us a series of small works of laser cut acrylic set into mirrored shadow boxes, and laser-etched gold-painted panels. These works depict, in some way, a collapsed architecture, a vaguely Escher-like built environment for the 23rd century. This is an architecture of sharp lines and cold stainless edges, like something out of a futurist psychedelic rabbit-hole.

A proun painting by El Lissitzky. Ink and watercolor on paper, 1925.

These small, mostly two-dimensional pieces seem to be attempting to render a three-dimensional, spatial experience, or, perhaps to push it further, a four-dimensional experience of space and time, onto a flat plane. Conversely, one could also say that Gilley’s installation work is an attempt to render a two-dimensional environment onto four dimensions of time and space. Whatever the case may be, the work has the potential to initiate a collapse of vision, through its distorted geometry. It maybe owes a little something to the El Lissitzky, a depopulated geometrical environment pushing for a technologically enhanced state of futurist-utopia.

Damien Gilley, "Small Multiples," metallic acrylic on laser etched paper.

Midori Hirose’s Boners and Blobs is, aesthetically, in marked contrast to Gilley’s angular etchings. Hirose presents a series of small black and white sculptures, crafted, it appears, out of some type of clay. Sitting atop pedestals are two clear acrylic boxes, each containing one half the eponymous boners and blobs, rough hewn, phallic rods in one, and a pile of small, flattish, coin-like blobs in the other. There are several small pedestal sculptures, also a mottled black and white, in blobbily phallic and loosely geometric forms, and a sphere of spinning LEDs (a globe for a new millennium).

Midori Hirose, "L n L," mixed media.

There is something vaguely futurist about Hirose’s sculptures, as well, as in L n L, a vertical tower penetrating one of two loosely geometrical square rings. There is a human-ness to the work, a life and a sense of humor despite their charred bone and ash color scheme. As if to say hey, the world may burn, and we may become digital-organic hybrids caught in the fires of a world we helped to destroy, but we can still fuck and fight and look at ourselves in the mirror every morning and smile at our prowess.

No future. Long live the future.

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