Michael Beatty, Visual Arts
Polysemy
Polysemy
Counterpoint, 2018
PLA print, plaster, plywood, and milk paint
9 x 5 x 4 inches (22.9 x 12.7 x 10.2 cm)
PLA print, plaster, plywood, and milk paint
9 x 5 x 4 inches (22.9 x 12.7 x 10.2 cm)
Flipside, 2018
PLA print, plaster, plywood, and milk paint
10 x 5 1/2 x 5 inches (25.4 x 14 x 12.7 cm)
Inside Out, 2020
Birch plywood, resin, welded steel and paint
15 x 16 x 10 inches (38.1 x 40.6 x 25.4 cm)
Birch plywood, resin, welded steel and paint
15 x 16 x 10 inches (38.1 x 40.6 x 25.4 cm)
Compass, 2020
Nylon, resin, birch plywood, stainless steel with bronze and paint 65 x 40 x 40 inches (165.1 x 101.6 x 101.6 cm)
Nylon, resin, birch plywood, stainless steel with bronze and paint 65 x 40 x 40 inches (165.1 x 101.6 x 101.6 cm)
The pieces represented here, reminiscent of the piece Ebbandflow on the cover page of this year’s edition of fósforo, are from Professor Beatty’s recent exhibition Polysemy at the Krakow Witkin Gallery in Boston.
“The images one sees, the objects one uses and the way one navigates these are intermingled in contemporary life,” reads the gallery description. “Beatty’s work reframes this mix as forever alterable. In the installation, The Garden of Algorithmic Delights as well as in individual works, Polysemy demonstrates how group and individual, alike and different, balance and topsy-turvy, are equally important in thinking about the world and how one engages with it.”
“I see great psychological potential in object-making: the way in which objects transcend their function use to become placeholders of memory and contemplation,” Professor Beatty observes. Below is a collection of objects in tension and balance, each a whole comprised of elements with their own colors, textures, densities, relations with space. Studies in counterpoint, equipoise, mutual dependence, they embody a unity made of difference.
The exhibition was postponed by the Covid-19 outbreak. A virtual exhibition may be viewed at the gallery website.
“The images one sees, the objects one uses and the way one navigates these are intermingled in contemporary life,” reads the gallery description. “Beatty’s work reframes this mix as forever alterable. In the installation, The Garden of Algorithmic Delights as well as in individual works, Polysemy demonstrates how group and individual, alike and different, balance and topsy-turvy, are equally important in thinking about the world and how one engages with it.”
“I see great psychological potential in object-making: the way in which objects transcend their function use to become placeholders of memory and contemplation,” Professor Beatty observes. Below is a collection of objects in tension and balance, each a whole comprised of elements with their own colors, textures, densities, relations with space. Studies in counterpoint, equipoise, mutual dependence, they embody a unity made of difference.
The exhibition was postponed by the Covid-19 outbreak. A virtual exhibition may be viewed at the gallery website.
Views of the Exhibition
