Imagine an astronaut on the International Space Station. Then imagine her staying up late, making things with her hands and blocking the video transmissions that allow her colleagues on Earth to monitor her 24/7.
Some of Stockholder’s constellations of unrelated objects and materials are no bigger than notepads. Some are large, about the size of tents or picnic tables. The assemblages are made from discarded hardware, bits and pieces of printers, DVD players, hard drives and the shells and guts of CPUs, as well hardware-store hardware, including U-bolts, flashing, industrial mesh, synthetic ropes, buckles and bungee cords. Tables, chairs and stools also appear, along with lamps, light fixtures and fish-eye mirrors.
That centrifugal integrity is what art lovers call formal power, the relational qualities a work has with itself. Today, that’s not a particularly popular way of looking at art. We’re encouraged to see art in relation to its context, its history, the social space that surrounds it.But Stockholder’s slyly subversive assemblages suggest that the two approaches work in concert, complementing each other and generating unexpected energy.
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