A Proposal for Story Outlines, 2022. PLA print, primer, epoxy dust, chalk line; form dimensions 18.5 x 9.25 x 1.5 in. Photo courtesy the artist.
A Proposal for Story Outlines, 2022. PLA print, primer, epoxy dust, chalk line; form dimensions 18.5 x 9.25 x 1.5 in. Photo: Meghan Olson.
installation view, 2022. Photo: Allison Minto.
Detail of An Hour Isn’t Only an Hour (iteration no.2), 2022. Pigmented urethane resin, cast aluminum, industrial felt, manually milled aluminum forms, aluminum tube stock; resin cast dimensions 18.5 x 9.25 x 5.5 in.; milled aluminum forms 8 x 4.5 x 2 in. Photo courtesy the artist.
Detail of An Hour Isn’t Only an Hour (iteration no.2), 2022. Laser etched industrial felt, linear bearings, aluminum tube stock, plexiglass, portable scanner; felt dimensions 12 x 24 x 1/2 in. Photo courtesy the artist.
An Hour Isn’t Only an Hour (iteration no.2), 2022. Pigmented urethane resin, cast aluminum, manually milled aluminum forms, industrial felt, aluminum tube stock, linear bearings, plexiglass, portable scanner; 120 x 48 x 8 in. Photo: Allison Minto.
Compression Point, 2022. Acrylic on burlap; 79 x 63 in. Photo: Meghan Olson.
Detail of Compression Point, 2022. Acrylic on burlap; 79 x 63 in. Photo: Meghan Olson.
Linear Assembly, 2022. Acrylic on burlap; 79 x 63 in. Photo: Meghan Olson.
Detail of Linear Assembly, 2022. Acrylic on burlap; 79 x 63 in. Photo: Meghan Olson.
Brett Ginsburg
b. Kansas City, Missouri
Infrastructural systems are designed to carry us through metropolitan and globalized networks. Through use, these systems become abraded, exposing their ability to collectively index our bodies, restructure time, and reveal patterns of social movement. Through painting and sculpture, I consider the built environment as a departure point to unfold material narratives.
My process starts by taking a walk outside and using a handheld digital scanner to capture the gestures and marks embedded in walls, streets, and light poles. I carefully translate these images into my works through a spectrum of machined tolerances and loosely devised matrices. By reverse painting atop slick industrial substrates, I build up countless layers of coagulated pigment through vectorized sequences into pliable membranes of paint that I reinforce with burlap and peel off. I consider my process a proposition for perception; tracing the interdependent realities of machines, coded biological organisms, and extensions of ourselves. I am interested in how these subjects remain unseen in the visual realm, yet proliferate our culture, politics, and ecosystems.