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Lucas Michael Between You And I A Silence
Chalice
2011
1:11 loop

Video still
Lucas Michael Between You And I A Silence Two-way mirror and wood
Ergo Te Provoco
2011
Two-way mirror and wood
84 x 28 x 28 in.
Lucas Michael Between You And I A Silence Two-way mirror and wood
Ergo Te Provoco
2011
Two-way mirror and wood
84 x 28 x 28 in.
Lucas Michael Between You And I A Silence
Ergo Te Provoco (detail)
2011
Lucas Michael Between You And I A Silence Polished steel, nickel-coated steel and plexiglass
Audentes Fortuna Iuvat
2011-2014
Polished steel, nickel-coated steel and plexiglass
18 x 18 x approx. 28 inches
Lucas Michael Between You And I A Silence Polished steel, nickel-coated steel and plexiglass
Audentes Fortuna Iuvat
2011-2014
Polished steel, nickel-coated steel and plexiglass
18 x 18 x approx. 28 inches
Lucas Michael Between You And I A Silence Cast bronze
Pede Poena Claudo
2011
Cast bronze
17 x 15 x 11 in.
Lucas Michael Between You And I A Silence
Pede Poena Claudo, Tabula Rasa
2011
Lucas Michael Between You And I A Silence Black mirror, resin and rubber doorstops
Tabula Rasa
2011
Black mirror, resin and rubber doorstops
84 x 28 x 4 in.
Jessica Silverman Gallery is pleased to present Between You And I A Silence, a solo presentation by Lucas Michael on view at NADA Hudson, July 30 & 31, 2011.
In this latest body of work, Lucas Michael mines the language of industrial design and Minimalism to oiffer a series of seductive surfacesthat invite interaction with the viewer'sbody. The installation includes a suite of polyurethane on paperdrawings, several mixed-media sculptures, two freestanding objects with mirror, and a looping video.
Juxtaposing popular images of ambition (such as generic trophies and Faye Dunaway's infamousmonologues from the 1976 film Network), Michael provides a subtle archeologyof the myths of "success" that structure social interactions, from the boardroom to the gallery. This opens onto a broader mediation on narratives of progress, the construction of social identities and the imbrication of of power and sexuality. Formally, Michael revisits the logic of the ready-made, turning to mass-produced objects, as well as to commonplace materials such as glass, commercial fixtures and industrial shelving to explore questions of repetition and reproduction. Ultimately, these various forms advance the artist's ongoing exploration of process, material, and the aesthetics of reduction.
 

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