“Infinite Gauge” was created by Makenzie Goodman and Adam Stacey. This show, which centers around the Wabash and White Rivers will remain on display in the New Harmony Gallery of Contemporary Art until Feb. 22.
I think Goodman’s decision to use cyanotypes was clever. Not only do the cyanotypes provide a pop of color in a sea of black and white photographs, but the process also relates thematically to the exhibition.
Cyanotypes have been around since 1842 and only require water to make the image permanent. This pairs well with the historical perspective that the exhibition takes and its focus on the Wabash and White Rivers.
I only wish that it was clearer whether Goodman turned historical negatives into cyanotypes or took the photographs herself.
Some ceramic artifacts have been able to survive almost 50,000 years. This makes Stacey’s choice to depict objects that we view as disposable, cups, lighters, packing, etc. intentional. Especially when these objects are all brought together under this theme of pollution and local waterways.
According to his website, his sculptures were created by making molds of objects found within the White and Wabash Rivers.
Thus, these sculptures remind us that the objects we so carelessly dispose of will outlive us.
They encourage us to consume more mindfully.
Crazing is the crackle pattern that can be found on the surface of a ceramic object. It can be caused by a difference in the coefficient of expansion between the ceramic body and its glaze. Essentially, as the piece expands in the kiln, it can place stress on the glaze, leading to the glaze separating from itself.
While some ceramicists go out of their way to avoid crazing, I think that this texture enhances the meaning of these works.
Crazing is a texture that I have only seen on ceramic works. By embracing this texture, Stacey is able to emphasize the permanence of these objects, because few art mediums have the longevity that ceramics do.
Crazed artworks are also able to age more ruggedly than objects with uncrazed glazes are. When I see these crazed objects, I can imagine finding them on a riverbank with much more clarity than I would if they were perfectly pristine.
Overall it seems that Goodman and Stacey work well as a duo. There are decisions that they made for “Infinite Gauge” that seem so intentional I’m sure they discussed it beforehand.
For example, their limited color palette.
The exhibition is almost entirely devoid of color except for blue. As the cyanotype solution is exposed to light, the solution produces Prussian blue, a dark blue color. This is also the only color that Stacey used in his sculptures.
Additionally, it seems like the same person created the bases for Stacey’s sculptures and the frames for Goodman’s photographs because the wood tones and minimalist style match.
I will admit that I am biased towards artwork that is intentionally and thoughtfully created. This is why this show appealed to me, because when a show has such an important message, thoughtfulness is critical.
Overall I enjoyed the show and thought that it was well done, but it could have used some writing to accompany the art. For instance, these artworks would have paired well with some historical background on the Wabash and White Rivers or a discussion about what issues these rivers are currently facing.
Looking at the art, I felt that there was a lot more that could be said. But there wasn’t any writing there that could say it. For such a specific theme, I think that written explanations could have ensured that viewers were all on the same page. It would also increase the odds of people coming away with an increased understanding of the issue.
Although I read about the show online and in person, this increased understanding of “Infinite Gauge” might have been provided at the artist talk on Jan. 11, that I unfortunately was unable to attend.