Exhibition

Samuel Payne

Appropriate Conditions

Samuel Payne Appropriate Conditions | Events Calendar
Samuel Payne, welcome cross – section, 2015


Redhook / Columbia St Waterfront

Opening from

On View

Peninsula Art Space | 352 Van Brunt Street

Samuel Payne’s second solo exhibition at Peninsula Art Space, Appropriate Conditions, includes nine new sculptures and a series of drawings that take up the artist’s ongoing inquiry into negative space and the periphery as they relate to the orientation of a subject.

The disparate sculptures include a plaster relief, the top of a coin-op billiard table, several pineapple window decals, hinged photographic poster boards, and curved speaker cabinets. The inclusion of these various models stages a taxonomy aimed at unwrapping dormancy as negative space and negative space as dormancy.

A dormant seed focuses potential within a labyrinthine context of environmental pressures. A kind of time bomb, it has an uncanny ability to cross borders, and modulate the distance between generations. As this invasive seed is picked up by the wind and carried off, it denies and repositions previous thresholds and contexts found in native species. The sculptures confuse this moment of dormancy and relationality. The threshold, and other in-between spaces such as the disturbed sites invasive species thrive in, becomes a litmus gap. The threshold loses its implied directionality and passivity and takes on a 360 degree notion; threshold as joystick.

Demarcating the gallery and the street, welcome cross – section is a series of transparent pineapple decals which alert birds to the pane of glass they are typically blind to during flight.

Also affixed to the windows, Focal Length consists of sections of bird feeders. Accessible only from inside the gallery, they are rendered useless by incision and are dispersed through the gallery rather than the seeds they ordinarily contain.

Inside the gallery, center piece, distends a billiard room scenario: The top of a coin-op billiard table is placed on a dolly and is lit by its partially unwrapped and functional atmospheric light fixture. The playing pieces have been removed, leaving only the playing field and its shadow. The negative forms of the pockets have flattened into a circumscribed perimeter rather then their previous negative/positive goal orientation.

raggedy anne as little room little room as raggedy anne is a homemade grow box designed with timers and a thermostat to break dormancy and foster seedling growth. It has a car battery toggle so as to maintain independence and operate off the grid in the event of power failure.

Channel #1,580 at 3AM, a plaster wall relief, cast from a broken floor mosaic. Its referent — or in the dormancy model, its parent plant — is located at an ineffable distance.

One Armed Bandit (Hinged Taxonomy) is a series of hinged poster boards pivoting from the same jerry-rigged fulcrum on the wall. Each panel is organized into grids of pictures taken over several years.

In dropped cabinets/parameter logic, the cabinets exhibited in Payne’s first show at the gallery have had their surfaces cut into perfect curves, their open doors removed, and their interiors muffled. Hung low on the wall, they form a parenthetical bracketing around the exhibition, implying a center in the room.

Mounted to the ceiling, the video drifting, recalls surveillance technology and the encroachment of boundaries such surveillance occasions. The video navigates through white noise, mapping a landscape without margins in search of an uninflected landmark.

Creating a boundary between the main and rear gallery, white threshold serves as a border line differentiating moments and forms of labor across both rooms, as well as insinuating and positioning a subject in this continuum.

In the back room a series of linear drawings executed during air flight have been photocopied and face mounted to Plexiglas. They trace distance or plot a cleaving of negative space through accreting abstraction upon abstraction in their replicated form.

Samuel Payne (b. 1982, New York) lives and works in Brooklyn. He earned his MFA in painting at the University of Washington in Seattle, and his BA at Hampshire College in Massachusetts. He recently exhibited 1,580 lb Gambit at Spring Break Art Fair. His first solo show, Final Lap took place in May 2014 at Peninsula Art Space.