Samsøn is proud to present a solo exhibition by William Pope. L titled Color Isn’t Matter opening February 5 until March 20, 2010. Performances of Cusp will happen during gallery hours on February 5, 20, March 5 & 20. Performances of Cusp will also occur at Mobius (725 Harrison Avenue, Boston, MA) Feb. 13 from 12 to 6PM and March 5 from 5 to 9PM. The only way to get at something is to circle it like an appointment on a...
Samsøn is proud to present a solo exhibition by William Pope. L titled Color Isn’t Matter opening February 5 until March 20, 2010. Performances of Cusp will happen during gallery hours on February 5, 20, March 5 & 20. Performances of Cusp will also occur at Mobius (725 Harrison Avenue, Boston, MA) Feb. 13 from 12 to 6PM and March 5 from 5 to 9PM. The only way to get at something is to circle it like an appointment on a calendar or an opponent in a wrestling ring or a very small bird, above an endless ocean, searching for a place to light. People say color is light. If so, then matter is an understudy. Our eyes, a fanclub. Our brain, our brain, our brain —an IMAX where phenomena gets its script. People say: "Color doesn't matter." as in "Color doesn't matter, I'm not a bigot." Is this idea cousin to the notion: "Color isn't matter"? And if so, how so? Perhaps in terms of possible worlds: People who say color doesn't matter have an implicit belief that color is in the theater of the beholder. Lift the curtain, sift the ocean, what do you perceive? A plethora, a process that surrounds us, is inside us, behind, before and beyond us. Color isn't matter, it's the transmission of bending, rending and longing; the prismatic messiness of the original lens. The works in this show are located at various points on a wobbling spiral and circumscribe my interest in how we use color concepts to create a sense of the world. Aquarium is a fish tank filled with red water and inks. Plaster models of the renowned French architect Le Corbusier's Carpenter building are dunked in the tank and 'marked' by the experience to create a set of 'Monoprints'. Plant is a cactus coated with many, many layers of different colored spray paint. Cusp is a group endurance performance in which a set of performers, one by one, hour by hour, don oversize pajamas, an Obama mask and grip a cup brimming with green ink while standing on a dirt mound while trying to remain as still as possible for 60 minutes. The wall works range from the mid ‘90's to now. Like the 3D work, there is no specific thematic connection between them except the gyre of desire. This is best exemplified by the Failure Drawings made from maps and usually picturing birds eye or multiple views in one work. The drawings are created on found surfaces discovered while traveling and, and once the artist returns home, developed over many months sometimes years. Hojiki is a blue plastic curtain, a sort of vertical ocean that can be performatized by the visitor like a theater set. the negro in all of us... is an audio work influenced by the sound environment of supermarkets and television commercials of pharmaceutical products. --- Pope.L William Pope. L was born in a tiny log cabin on Broome St. in Newark, NJ between a bread factory and a cleaners. His father operated the large pressing machine at the cleaners while his mother worked at the factory twisting hunks of dough into crullers. Pope. L’s three uncles were respectively: a murderer, a carpenter and a sailor. Pope.L is a visual and performance-theater artist and educator who makes culture out of contraries. He prefers the word ‘contraries’ rather than ‘contradictions’ because the former suggests difference and fluidity whereas the latter suggests opposition and rigidity. He has created multi-disciplinary work since the 1970’s, and exhibited internationally, including New York, London, Los Angeles, Vienna, Brussels, Montreal, Berlin, Zurich & Tokyo. Select recent projects have been sited at Art Institute of Chicago, Santa Monica Museum of Art, Galerie Catherine Bastide, Sammlung Falckenberg, Mitchell-Innes and Nash, the Carpenter Center for Visual Art at Harvard University and most recently at Hauser and Wirth, NYC where he staged a reinvention of Allan Kaprow’s Yard. He is a featured artist in “Intersections” edited by Marci Nelligan and Nicole Mauro and “How to See a Work of Art in Total Darkness” by Darby English. An upcoming project involves time-lapse photography of butter sculptures of architectural structures.