Still life of boxes. Shadows. Dark sky. One vertical tall box. One box is stacked.

Result #1

Still life of boxes. Shadows. Dark sky. One vertical tall box. One box is stacked. One box is placed flat. One box is airtight. . . . One tall box. One tall box. One tall box is open. . . . One tall box. . . . One tall box. One tall box is stacked. . . . One tall box. One tall box. . . . One tall box. One tall box is airtight. . . . One tall box. . . . One tall box. . . . One tall box. . . . One tall box is hidden. . . . One tall box. . . . One tall box. . . . One tall box. . . . One tall box. . . . One tall box is dark. . . . One tall box. . . . One tall box. . . . One tall box. . . . One tall box is hidden. . . . One tall box. . . . One tall box. . . . One tall box is dark. . . . One tall box. . . . One tall box is hidden. . . . One tall box. . . . One tall box is hidden. . . . One tall box. . . . One tall box is open. . . . One tall box. . . . One tall box is airtight. . . . One tall box. . . . One tall box. . . . One tall box. . . . One tall box is hidden. . . . One tall box. . . . One tall box is dark. . . . One tall box. . . . One tall box is hidden. . . . One tall box. . . . One tall box is hidden. . . . One tall box. . . . One tall box. . . . One tall box is hidden. . . . One tall box. . . . One tall box. . . . One tall box is dark. . . . One tall box. . . .

Result #2

Still life of boxes. Shadows. Dark sky. One vertical tall box. One box is stacked. One stacked square. . . . Bodies in one box. . . . Bodies in another box. . . . Bodies in another box. . . . Wacky bodies in a row. . . . Bodies in one row. . . . Bodies in another row. . . . Bodies in a third row. . . . In these photographs, the bodies, their movements, are absorbed in the poses. With the matrices of the body, the bodies look like well-oiled machine parts. The shadows are like patterns in a pattern book. The images come to a point, then the shadows are seen again. But when the bodies disappear into the shadows again, the shadows have disappeared. In a way, the bodies are like dead, crushed, or melted bodies, and they are so real, so vulnerable, and so physically perfect, like things in a natural state of immobility. In the photographs, the body is not only not seen but held captive to the shadows, frozen in the shadows. The body becomes a solid object. We see it in the shadows, we can see it in the shadows, we can move with it in the shadows. In the photographs, the shadow is the soul of the body. The body is not only not seen but is annihilated. The shadow is the soul of the body. And the body is in a state of shock. The body becomes a threat. The shadow is the soul of the body. The shadow is the pain that the body suffers. It is the pain that the body suffers.In addition to the photographs, the show included forty-four new crayons on paper. These crayons have a rich, almost vibrating, texture. In the past, the crayon crumbled and became more granular, more ephemeral. With this new crayon, the crayon becomes solid and solidity.

Result #3

Still life of boxes. Shadows. Dark sky. One vertical tall box. One box is stacked. Two shadows, one behind the other, but the shadows don't go together. Four boxes stacked. . . . . Four boxes stacked in the middle of the floor. . . . Four boxes stacked on top of one another. . . . Four boxes stacked on top of one another. . . . Four boxes stacked on top of one another. . . . Four boxes stacked on top of one another. . . . Four boxes stacked on top of one another. . . . Four boxes stacked on top of one another. . . . Four boxes stacked on top of one another. . . . Four boxes stacked on top of one another. . . . Four boxes stacked on top of one another. . . . Four boxes stacked on top of one another. . . . Four boxes stacked on top of one another. . . . Four boxes stacked on top of one another. . . . Four boxes stacked on top of one another. . . . Four boxes stacked on top of one another. . . . Four boxes stacked on top of one another. . . . Four boxes stacked on top of one another. . . . Four boxes stacked on top of one another. . . . Four boxes stacked on top of one another. . . . Four boxes stacked on top of one another. . . . Four boxes stacked on top of one another. . . . Four boxes stacked on top of one another. . . . Four boxes stacked on top of one another. . . . Four boxes stacked on top of one another. . . . Four boxes stacked on top of one another. . . . Four boxes stacked on top of one another. . . . Four boxes stacked on top of one another. . . . Four boxes stacked on top of one another. . . . Four boxes stacked on top of one another. . . . Four boxes stacked on top of one another. . . . Four boxes stacked on top of one another. . . .

Result #4

Still life of boxes. Shadows. Dark sky. One vertical tall box. One box is stacked. One item. A very large box is stacked. One item.

Result #5

Still life of boxes. Shadows. Dark sky. One vertical tall box. One box is stacked. One box is tilted. One box is on fire. . . . MALDEN FOWLER has created a number of amusingly humorous, sometimes surreal, as well as comic-book, show and tell images with his young-adult books. These recent sculptures look more like cartoons than like the work of a professional sculptor. The figurative element is heavy. The small sculptures are almost as large as the books. They are presented in a semi-abstract fashion. In some of the drawings they are cut out or torn from wood. There is a strong painterly quality. In one of the drawings, for example, the head is red in the middle, like a work by Salvador Dali. In another drawing, a female figure appears, but the drawing is clearly just a hand drawing. In one of the larger pieces, a man appears as the head of a man. The heads are crossed and the drawing is clearly just a sketch. Fowlers drawings make the heads look as though they are extending out to the sides of the drawing, as though the figures were flexing. The heads are also angled slightly, creating a curve in the drawings. The head-traps, however, are still very much attached to the paper, creating a very exaggerated, even grotesque, head. The heads are always wrapped up in black.The figurative element is also present in a number of Fowlers other works. The most interesting are the simple, self-contained portraits of people and children. In one of these, a young man appears, his head in profile, his hands on his hips, and the gaze fixed on a child in a purple hood. The figure is a young man, a star, and one of the most popular artists of the day, and the writer of many childrens books. He has a distinctive air of light-heartedness.