Addressing the urban environment, Wasserman Projects has mounted three solo exhibitions that speak to the state of affairs where man-made structures exist in various forms of decay. Works by Detroit-based Artist Scott Hocking, Brazilian artist Maritza Caneca, and Brooklyn-based artist Jack Henry opened on April 26, 2019, with different mediums that find their subject matter in abandonment, ingenuity and rebirth. The exhibition required artist residencies weeks before the show opened where the work was collected and in some cases custom built into the generous expanse of the gallery space.
“To immerse oneself and fully own the beauty and power of seemingly ordinary objects and environments takes a certain kind of audacity. That is in part what has drawn me to each of our spring featured artists,” said Alison Wong, Director of Wasserman Projects. “Their ability to transform day-to-day experiences into narratives that address both personally and universally resonant subjects is so compelling. And as you engage in their work more deeply, you see at play the dichotomies of the natural and man-made, the contemporary and ancient, the funny and the grave—when those pieces come together in their hands, they produce something fresh, exciting, and real.”
Scott Hocking, the Detroit-based artist, has been creating site-specific installations, using the city of Detroit as his laboratory to create works of art dating back to 2000. I first became aware of his work with the Detroit Institute of Arts exhibition Relics. The scope of his exhibitions inside abandoned buildings or outdoors in the elements, such as the Rustic Sputnik, Tire Pyramid, or the Celestial Ship of the North, all demonstrate a wide range of locations and materials that speak to his expansive and inquisitive imagination. Hocking delivers a formalist arrangement of three-dimensional artwork, primarily vacant interiors, to leverage an open stage as he creates collections of objects that propose deeper meanings reflective in a space that was part of a past. Hocking is documenting change, rebirth and transformation, causing the viewer to be held in awe, and as the artist transforms his found materials, reconstituted into a new form. All the work is carefully photographed for exhibition and documentation of an image in the event the exterior space changes where new development clears the building or land.
This Wasserman installation features discarded concrete sewer pipes that Hocking collected from a now-defunct Detroit Water & Sewage Department building in Eastern Market transforming the cast concrete into colorful megaliths, some weighing as much as 15 tons. Hocking, who has leveraged abandoned spaces in places like Port Austin, Michigan, New South Wales, Australia, and Lille, France, speaks to an artist who seeks new spaces for inspiration. A variety of motifs that reappear in his use of form are the pyramid, the oval and the circle: psychologically universal in their iconic existence for thousands of years, reminding this writer of the role the collective unconscious plays in creative expression.
For the lack of a formal artist statement, and perhaps in a Hocking-ish way, he says in his bio, “Like my childhood experiences, I found myself hiking up to the railroad grade via desire paths, climbing through fence holes and busted open doorways, and into these once-bustling buildings of industry, now quiet and still. Cavernous is an accurate term to describe them, not just because of their interior size and space, but also because of their transformations into man-made caves: stalactites and stalagmites formed throughout these often cast concrete structures, as years of water permeated the roofs and floors. I found solace in the quietude and natural reclamation in these spaces. I craved it in my life and sought it out where I could find it. In these historic Detroit factories, built along the railroad over 100 years ago, and left for dead by the 1980s, I found my church-like experience. My freedom. My escape.”
Seventeen Shitty Mountains at Wasserman Projects is produced in collaboration with David Klein Gallery, which represents Scott Hocking, and Eastern Market Corporation. Hocking earned his BFA from the College for Creative Studies in 2000.
A combination of “core sample” sculptures and windows of detritus, Brooklyn-based artist Jack Henry uses resin and cement to bond various remains of discarded civilization and contextualized as new work, contrast with delicacy to the megaliths of Scott Hocking. The urban debris often on the interior cement perimeter to the rectangle is often thematic, be it branches, leaves, wiring or glass. These commonplace, post-industrial abstractions form the tension between the natural and industrial elements. The vertical stanchions constructed in plywood and plastic, then cast in cement result in colorful, chaotic and intricately-textured, supports, resembling geographic core samples from an urban landfill. These were created on-site to conform to the floor to ceiling height of the gallery.
The contrast in found material and gypsum cement in Wilderness creates an abstraction that pays attention to composition as well as the juxtaposition of textures. Varying in size, Henry gathers commonplace materials and transforms them into multi-media works he calls “monuments” to post-industrial America.
In the publication, Beautiful / Decay, Ryan De La Hoz interviews Henry who says, “I appropriate discarded objects seen by the roadside to create monuments to post-industrial America. The selection process is focused on man-made objects and structures such as dilapidated houses, roadside memorials, tattered billboards, and other discarded materials. Each object is reinterpreted and presented as an artifact or a natural history museum model of something pulled from the contemporary landscape. The purpose is to evoke a sense of wonder from the banal byproducts of our failed but once successful modern society. Instead of merely pushing these man-made items into the peripheral of our everyday routine, I recreate the curiosities that happen when they depart from contact with people to move, decay, and harbor with other items to create monuments to cultural disaffection.” The artist earned his BFA in sculpture from Florida Atlantic University and his MFA from the University of Maryland.
The Brazilian artist Maritza Caneca began her career in still photography in the 1980s working alongside cinematographers, capturing fragments of film for a larger narrative and launched her attraction to abandoned swimming pools in 2012, beginning with a visit to her childhood ranch in Brazil to discover that after 35 years, the pool she loved as a child was in complete decline. What followed was her work in Cuba in 2014 where she was researching the abandonment of swimming pools in Cuba by order of Fidel Castro because of how they represented wealth and power. These events, coupled with her recent work in Budapest (known as the city of waters) to document their thermal baths – created a sensibility: An attraction to water pools, vacant of people, with light, form, color and the subtleties of the pattern. The empty pools are perhaps personally nostalgic, while the full pools become a vehicle for the illumination of an abstract composition.
When one surveys the body of photography, it is not uncommon to find a thread, be it particular objects, architecture, acts in nature, people of a rare type or periods in time, that dominate their attraction. For this exhibition at Wasserman Projects, Caneca’s work is found, whether driven by intuition or circumstance, working in the spaces around the man-made environments of water.
She says in her statement, “I have become obsessed with the nature of pools and the “ghosts” that once filled the spaces. I have gladly made the various shades of blue, the malleability of the water, and the artistry of the pool tiles my artistic tools. Conveying the nostalgic sensations that pools evoke became my motivation. I work from the perspective of an outsider attempting to gain, or regain, access to the coveted freedom pools offer; attempting to access the immersive sensations of weightlessness and calm so unique to a pool’s environment.”
These video screens take the camera immersed as part of moving underwater to a new dimension and reinforce her attraction to the waterscape of a full water pool. That is the conception of the video titled Imersao, which was shot in slow-motion to capture the feeling of a plenitude of submerging, like someone who drops their anchor in the world. Caneca’s pictures not only invite the memories but also the invitation to submerge in the silence of an immersion. Maritiz Caneca earned her Bachelor of Arts and Social Communication at the Faculdade da Cidade in 1982, and spent two years studying at Parque Lage Visual School of Arts.
While this exhibition presents three individual solo works of art, there is an obvious connection to urban decay and reinvention. Each artist in their own way approaches and encapsulates the nostalgia of material reused, reinvented, and celebrated. It’s more than a discovery, rather a metaphor for our continuing engagement with art as an expression of urban environments from the past and present.
Scott Hocking, Maritza Caneca, Jack Henry at Wasserman Projects runs through June 29, 2019