To picture art is to define boundaries.
There are boundaries of Space. These boundaries materialize in the white walls of the gallery, the pedestals on which a sculpture stands, the frame or the unframed edge of the artwork, the lines on the floor separating the object form the viewer. These materialities are essential to the performance of art world: what are the bounds of the art-on-view? How much of the art’s meaning is determined by the authoritative grammar of art spaces?
There are boundaries embodied in Objects. These boundaries are the result of art-as-fetish: what are the social meanings of art objects within speculative economies of the culture industry? And the fetish of the object in the context of an insatiable demand for the personal: what of the niche individual as visual paradigm maker? What is the authentic, the original, the new?
There are boundaries that define the Viewer. These boundaries are the vectors of reflection and reproduction. Reproduction takes material forms: re-prints, copies, and reproduction. It also takes immaterial forms: the eternal reproduction of elements, themes, colors, as the very essence of cultural consciousness. How is the viewer connected to these legacies? How do paradigms that divide owners from viewers amplify or constrain immaterial and immaterial vectors; imitation, inspiration or creativity?