Solo exhibition micro/macro from Michael Theodore at the Galleries of Contemporary Art in Colorado Springs, September 9 through November 19, 2016. Artist lecture will be held Thursday, November 3, 6:30 pm. And the performance, Psychoangelo, with Glen Whitehead & Michael Theodore will be Thursday, November 6, 7:30 pm.
More information on the exhibition and these events can be found here.
Michael Theodore’s second solo exhibition with the gallery, Supraliminal, received a terrific review in The Denver Post. Rinaldi states “Theodore’s work is contemplative, but his high-tech edge makes the offerings a product of their time.”
#2: David Smith has a fine eye for talent near and far, and that sets him apart from his peers. He works with some of the best names in the region (Sarah McKenzie and Don Stinson), but his focus is national, and that makes a visit to the showroom a treat. Plus, he’s been having fun lately, with must-see installations from artists like Michael Theodore and Mark Dean Veca. It’s his time, really.
“….For endo/exo, Theodore began with the space itself, which he studied down to the pattern of its rafters and the ventilation equipment. Theodore then constructed the resulting monumental piece–28 feet long, 12 feet tall–along one wall of the gallery. The exterior has an industrial feel, made up of an architectonic grid of dark-colored metal strips, accented by mechanized rods arranged in a regular rhythm that move in response to the viewer’s presence. The open grid allows viewers to clearly see the interior, which is soft and expressive, filled with draped and knotted ropes–”I wanted to do something by hand,” notes Theodore. These ropes are bathed in light in different colors at different times. There is an obvious theatricality to endo/exo, reflecting Theodore’s experiences in performing music. “It’s very theatrical, with the lights coming up, and though I didn’t intend it consciously, I can certainly see the proscenium aspects of it,” Theodore says. Interestingly, in light of Theodore’s music interests, endo/exo does not have a composed sound track, but instead its sounds are made by its moving elements which speed up or slow down depending on whether someone is in front of them or not.
Although Theodore has only been on the state’s art radar for a little over a year, his work, in particular his ambitious installations, have made just about everyone sit up and listen–or, in this case, look.”
“When you enter your local supermarket, the door will most likely slide open automatically, welcoming you as it senses your presence. There’s nothing remarkable about that, you’re accustomed to the simple technology of motion sensors. What is remarkable is that technological fixtures such as motion sensors have become so ubiquitous that we scarcely notice them anymore. They are a part of your daily routine, a simple and unnoticed interaction with technology. It is that subtle relationship between man and machine that new media artist Michael Theodore explores in his solo exhibition organism/mechanism currently showing at David B. Smith Gallery in Denver.
At the entrance of the gallery stands the monumental sculptural piece, endo/exo (2013). Spanning most of the length of the darkened lobby and rising from ceiling to floor, a flow of ambient LED light reflects off organic clumps of yarn creating a James Turrell-like illuminated atmosphere. However, moving closer to the piece, one is able to see how it departs from traditional light and space work when rows of rods begin rotating in response to the presence of the viewer. endo/exo is similar in design to many of Rafael Lozano-Hemmer’s pieces that also utilize motion sensors to create kinetic sculpture. However, Theodore’s work ventures further into traditional media in addition to the technological formats. This creates an environment that enhances sensual perception through the use of light and sound as well as movement.
Further in the gallery, there are ten abstract works on paper with a very organic feel to them. Upon closer inspection, it can be seen that the lines are actually perfectly inscribed, created by an automatic drawing machine programed to produce patterns so complex as to appear organic. Underneath these lines, Theodore plays with the tension between man and machine by hand-painting delicate color fields that glow through the machine made line work. In addition, there are three sharply produced digital videos with accompanying video stills. Each video is a digital environment that mimics water, ice and clouds, organic forms that become abstracted in a digital world. They were created using software, but there is something organic and comforting about watching the gently oscillating waves of a digital ocean or a spinning cloud-like formation.
All of the works in the show explore the synthesis between the machine made and organic forms. However, it is when Theodore is creating immersive interactive environments that the artist is at his best. By blending technological tools with our biological perceptions, Theodore is opening up a world of new possibilities within the viewer/object relationship.”
“…It all fits together snugly under the banner organism/mechanism,” the show’s overall title. Theodore is exploring the intersection of technology and humanity. He’s letting the machines in for art’s sake, letting them work his hand and sometimes lead it. Are the machines taking over? Definitely not, but they are moving things forward. The technology makes it all new, the human touch keeps it interesting.”
David B. Smith Gallery was thrilled to participate in the PULSE Contemporary Art Fair in Miami, Florida this past week. The gallery featured works by Laura Ball, Christina Empedocles, Gregory Euclide, Paul Jacobsen, Hong Seon Jang, Kris Lewis, and Michael Theodore. A few works are still available and a selection of exhibited works can be viewed on our PULSE Miami exhibition page. Please contact the gallery to inquire about availability.