The curatorial conceit of Blueprint, a group exhibition at the McKinney Avenue Contemporary in Dallas, is that the work included somehow embodies a plan from which one could build something. None of these artists do this literally but in some sense the curator James Cope has included work that evokes generative possibilities is different ways.
Edward Setina has included a series of videos and sculpture that revolve around a figure in a white biker suit on all fours. The largest piece depicts this image projected onto a transparent plane. His anxious body twitches and retches, oscillating between fascination with and repulsion from the pool of his blood beneath him. In a clear ode to Narcissus and the struggle with one’s doppelganger reflection, this piece sees the self as the start of creation and ironically its demise. For once one looks at ones reflection, one is split between what once sees and what one knows.
Brian Fridge‘s video installation includes images that resemble cellular forms that float around and smash into one another splitting into multiple forms. Each revolving orb is similar but it is their juxtaposition and collision that provides endless loops of reproduction.
Also included in the show are three objects by Amy Revier leaning against the wall that resemble arctic sleds. They are crafted in a way that is at once regal and refined, with a reduced humility that suggests some kind of ritual for an idealistic explorer, trudging her way across the tundra.
Finally, Paul Slocum‘s work addresses both the histories of popular imagery and their dissemination as well as the way that they are made. Images of Heathcliff and the Skiing cat were created with a 3-D software called Blender. As Slocum explains,”a wire-frame model is formed in the computer, surfaces are defined, and then a final image is rendered by simulating the behavior of photons in reverse (tracing rays from the camera outward). These two cats were in a sense made based on a similar structure.”