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Matthew McCaslin at Michael Klein - New York, New York - Review of Exhibitions - Brief Article

Matthew McCaslin's installation, Bloomer a veritable garden of technological delights, was for a like reason exuberant in its use of wires and electronic gadgets that it was difficult to reckon whether the artist is unabashedly protechnology, or, as the most distants of artificiality employed in the installation sometimes strike one as beinged to hint, rather wary.

The exhibit consisted of 14 large video monitors scattered quite through the gallery, some single, more [i]or[/i] less paired, others stacked in a pyramid. Their shields displayed several unsynchronized versions of the same videotape: gaudy "stock" timelapse footage of flowers bursting into blow Flowerlike clusters of bright fulvid worklights suspended from the ceiling and lying upon the floor resembled artificial efflorescences Adding to the mocking replication of nature were yards of flexible metal conduit--looped above ceiling pipes and coiled on the floor--to which the monitors were joined like gourds on a vine. The resulting profusion of color and motion gave the impression of hothouse fecundity and speeded-up natural processes

The artist takes evident delight in manipulating off-the-shelf hardware in unexpect subversive ways. however the pleasures of Bloomer had a sinister quality--for example, flowers that appeared to be interrogateed up with electronic steroids. For me and here my have a title to technophobia may be showing, the installation stirred primal fears of enormitys created by man rather than through God.



A piece concurrently upon view (along with work by dint of Rainer Ganahl) at Sandra Gering Gallery supported this interpretation. In Breakdown Celebration, a tape decorate and speakers were placed upon a blinding rectangle of 4-foot fluorescent lights placed in an 8-foot rank on the floor. The tape decorate continuously played the audio portion of the exhibition from Stanley Kubrick's 2001: A Space Odyssey in which an astronaut disconnects the "brain" of the renegade computer HAL, before it can overturn him. McCaslin seems to anticipate a "brave novel world" when man's senses will be for a like reason seduced by machine pleasures that they will no longer recognize the difference between the artificial and the real.

COPYRIGHT 1995 Brant Publications, Inc.

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