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Other, free-standing sculptures have been produced in ultra-refined reflective high-polish aluminum. This can be seen clearly in the sculptures that lean against the wall, which enter into dissonant dialogues with the paintings and collages that hang around them. Just when it seems that a sculpture composed of slotted-together, two-dimensional forms is describing a three-dimensional volume, viewing it from another angle will reveal an irreverent celebration of flatness, a return to the giddy Cartesian geometry of the cardboard panels that line the gallery walls. A guiding contemporary reference for Two Sheets Thick, for instance, might be seen in the perspective, layout, and design of video games like Doom and other first-person shooters that use flatness as a way to describe depth. However, the space is not so much a commentary on the virtual as it is an explosion of the formal possibilities inherent in the transition between the virtual and the real. While Two Sheets Thick takes its place alongside other experiential environments (beginning perhaps with the caves at Lascaux and also inclusive of more recent examples like Kurt Schwitters' Merzbau and El Lissitzky's utopian architectural projects), Curry's approach also accounts for the perceptual vertigo that can be caused by immersion in digital environments. In fact, it is possible to see some of these discrete works as having escaped the two-dimensional parameters of the backdrop, taking new form as three-dimensional objects or layered collages. Sculptures, paintings, and collages are surrounded, camouflaged and disrupted by this simultaneously violent and deadpan backdrop. These images have been composed on the computer using a drawing tablet, so that what begins as a mark drawn in digital space is given new life in the physical world. In Two Sheets Thick, the establishment of such a conceptual/formal environment is taken to a new, completely immersive level.Ĭurry has covered the entire gallery space with images of beaded liquid hand-silkscreened on cardboard. Seemingly the product of an aggressively historicizing id, Curry's work replaces the idea of a visual language with that of a constantly shifting context––a formal universe whose boundaries collapse and expand at will with pornographic vigor. An opening reception will be held on Saturday, June 5, from 6:00 to 8:00pm.Īaron Curry's sculptures, paintings, and collages represent a radically revisionist take on the Western artistic tradition. David Kordansky Gallery is pleased to announce Two Sheets Thick, an exhibition of new work by Aaron Curry, on view from June 5 through August 7, 2010.