A tall empty glass cup, next to a tiny bowl near a closed book drawn in realistic pencil sketch

Result #1

A tall empty glass cup, next to a tiny bowl near a closed book drawn in realistic pencil sketch __________, are also objects from the exhibition, but they are made from colored acrylic. The objects are assembled in the fashion of the pre-1970s, with a few changes: they are suspended from the ceiling and a hole cut in the floor, and the glass is covered with a sheet of Plexiglas. One wonders whether the acrylic is an impasto or paint, and whether the floor is the floor, or whether the floor is the floor. In any case, the objects have a sense of being built up by the viewer, an impression reinforced by the fact that the sheets of Plexiglas are being drawn in by a hand. The objects are not meant to be taken apart or stored in the same way as a real object, but are, in fact, made up of various layers of paint and formed into a picture.By now, the effect of the work is predictable. The paint and Plexiglas are applied in a mass-produced way, the paint is applied with a very thin, very glossy brush, and the Plexiglas is applied with a hand. Yet the paintings are different. Each painting is a grid composed of six squares of varying widths, and each square has its own colored component. The colors are chosen from a palette consisting of: red, blue, yellow, green, yellow, orange, white, and blue. The shapes are a variety of sizes, from rounded to square, and the colors are arranged in a grid. The paint is applied in a flat, repetitive fashion and the paint is applied in layers, the layers of paint being applied in waves and the waves of paint, and in a continuous manner. In the paintings, the colors are applied in such a way that they do not blend with the paint, even when the paint is applied in a small quantity. The result is a painterly space which is surprisingly organic.

Result #2

A tall empty glass cup, next to a tiny bowl near a closed book drawn in realistic pencil sketch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Result #3

A tall empty glass cup, next to a tiny bowl near a closed book drawn in realistic pencil sketch vernacular style, stands on a shelf, as if it were a bit of junk. A shadow falls on the face of a man who seems to be reading a book, or, more likely, is reading a book itself. The cup itself is painted white, the water in it white. The book, perhaps a photocopy of one, is one of the few pieces of paper left in the room; this is the only paper in the room that has been opened. The book itself is white, the room white, and the light in the room white, all of which is as it seems to be: an opaque sheet of black paper that covers the entire surface of the room. The light is also what separates the two rooms. The room in which the book sits is the same as the one in which it is seen, and the light in the room is what separates the two rooms. The books illumination is what gives the room its whiteness. Here, the only thing that matters is the dark, opaque void left behind by the books light.In a small corner of the room, a small desk, leaning against the wall, is a mirror with a sheet of glass on the floor. A shadow falls on the mirror, which is the only thing that separates the mirror from the wall, giving the mirror a black cast. The wall behind the mirror is painted white, and the light that falls on the mirror itself is white. A small mirror, its glass broken, sits on the floor; its mirror is the only thing that separates the mirror from the wall. The mirror in the mirror is the only thing that separates the mirror from the wall, giving the mirror a black cast. The wall behind the mirror is painted white, and the light that falls on the mirror is white. The mirror in the mirror is the only thing that separates the mirror from the wall, giving the mirror a black cast.

Result #4

A tall empty glass cup, next to a tiny bowl near a closed book drawn in realistic pencil sketch  (Surrogate and Tender, both 1987), reveal the works, which also function as a kind of portable press. As in the rest of the show, each work has a face: In the case of the book, the face is a portrait of the artist; in the case of the cup, the face is that of a client. We could even assume that the head of each artist is a prosthetic: The cup, for instance, is a prosthetic for the artist, and the face of the cup (and of the client) is prosthetic for the client. The last work, a drawing in graphite on a white paper, also appears to be a prosthetic, and the paper on which it is made shows traces of graphite; the result is a kind of uselessness that in turn reinforces the sculptures underpinnings. Like the rest of the show, this work is a world of excess. The products are the same as those of the private enterprise, but the essence of the self is that of the world of commerce, and if the products of the private enterprise are always products of the public, they are no less, of course, the products of the private enterprise. At the same time, however, this excess is an element of the private enterprise, because the excess is a part of the private enterprise and is thus part of its essence. The excess is the identity of the private enterprise, and the identity of the private enterprise is the identity of the private enterprise. What is true of the private enterprise, then, is true of the excess, and the excess is an element of the private enterprise. It is this aspect of the private enterprise that connects the work to the other works in the show.In the process of creating the sculptures, Ritchie found the essence of his personal identity. The essence of the private enterprise is its determination of the identity of the private enterprise, which must be determined by its identity as an individual.

Result #5

with the same title as the print, hangs near the entrance to the gallery. A few pieces of colored-paper collaged together, the piece is the visual equivalent of a family album. This material is in stark contrast to the more subdued, textured surfaces of the photographs, which are in stark contrast to the light-sensitive surfaces. The photographs are beautiful, as in any family album, but the textural and optical qualities are stark. One, in fact, feels as if one were examining the surface of a corpse. In the photographs, it is the texts that are hidden, and one is forced to focus on the surface of the surface as a whole. Here the surface has become a ghostly blackness.One might think of the quality of physical reflection in an image, but here the surface is created by the combination of physical and chemical processes. The materials that we use to make these surfaces are not simply created by the process of making the surface. The material, on the other hand, is there and yet the textured surface is still hidden. The photo-textures are real, but the textured surfaces are not. The surface is not only a single plane, but a single unit of reality. The surface is a reality that exists beyond the physical reality of the photographic image. Its not only a surface but a whole world.