July 9th, 2018 - August 9th, 2018 in the Red Mill Gallery
Reception Saturday, July 21, 6:30-8:30pm
Ode features prop-like sculptures influenced by ancient Greek vase painting, Classical architecture, archeological or geological core samples, and Euclidean space-time diagrams. These references conflate human scale at its most essential with a scale of geological history impossible to fathom, akin to Timothy Morton’s description of a "hyperobject": entities of such vast temporal and spatial dimensions that defeat traditional ideas about what a "thing" is in the first place.
The vessel is a tool of timekeeping; it is literally and metaphorically a primary source. The potential energy vessels store signifies both primordial womb and historical becoming. The heavily-modeled black lines of these forms suggest an armature moving temporally forward, as a sculpture coming into being, while simultaneously appearing ruinous or disintegrating the logic of the object’s textual surface. These sculptures are earnest and clumsy simulations of archetypal structures, and their resolute awkwardness inspires the psychic displacement necessary to comprehend the cultural displacement they induce. Ode accepts the premise that every equestrian monument is truly a Trojan horse, and by passively consuming sculptural archetypes, we passively place precedence on postured histories.