JULY 2 – 5 2009

X. Multiplication: the shape of prolific agency

X. A sign of negation; a sign of non-disclosure

X. A model of inversion, of diametric binaries: the dynamics of bodily confrontation

X. Crosshairs; the convergence of multiplicity into singularity: event horizon

Between the surfaces of 3084, there is a logic of economized space. The space is greater than the sum of this logical frame. There is contingency. There is possibility. There is agency, energy and entropy. The potential value of these variables in relation to the space is X. X marks the spot, the heart of the matter.

Things vs People
People vs Things

A sculptural response at the heart of the matter.

Jem Noble

. . . . .

Since 2006, Kika Thorne has built a series of sculptures that are suspended in tension. Secured to walls, ceilings or floors, their scale is determined by their architectural frame, which they co-opt in a conversation of opposing forces. Each conversation works to schematize a conflict, an agreement, and in a rare case, a resolution.

Less objects to be considered than obstacles to be negotiated, these forms are most often rigged from materials commercially available in the dressmakers shop and hardware store: elastic, nylon thread, magnets, steel bolts, plastics – once vibrant innovations of modernity, now mundane units in the global constituency of overproduction. In combining these formal and material strategies Thorne establishes a powerful dialectic, setting modernist austerity and its moral elevation of rational-technical progress against the contemporary quotidian and its confused narratives of desire and responsibility. Unlike the forces at work in the sculptures themselves, the outcomes of this tension are unstable, indeterminate.

. . . . .

‘In his anti-illusionist edict “Real space and real materials,” Russian constructivist, Vladimir Tatlin articulates his rejection of transcendence, made visible in the 1915 Corner Relief. His colleague Naum Gabo was building on what he had gleaned as a student at the University of Munich, where theoretical physics was exploding with Einstein’s proposition.’

‘Whether servicing science or revolution, the idealist space of modernist sculpture could not withstand the pressures of totalitarianism. Introducing Sculpture in the Expanded Field, Rosalind Krauss writes, “by about 1950, it began to be exhausted. It began, that is, to be experienced more and more as pure negativity. At this point modernist sculpture appeared as a kind of black hole in the space of consciousness. In this sense sculpture has entered the full condition of its inverse logic and had become pure negativity.” ‘

‘I feel myself to be on the other side of this black hole, renegotiating the Constructivist’s engagement of form, with doubt as my magnifying glass. My materials and spirit are not emblems of a “new man”, but the residuals of our time, while our use of materials and distribution systems are cause for alarm.’

Kika Thorne



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