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Tim Griffin

WADE GUYTON HAS REFERRED TO HIS SCULPTURES AS drawings in space. No doubt this assertion has something to do with his three-dimensional works’ frequent status as studies. (Indeed, in the past couple of years Guyton has made a number of pieces individually titled Fragment of Sculpture the Size of a House, each corresponding to a structural component of the suburban home the artist intends to construct and paint completely black, sometime in the future.) Yet his statement has as much to do with the physical character of the objects, which can seem crudely superimposed on space, at once underscoring the sculptural aspect of seeing and demonstrating Guyton’s interest in the dynamics of sculpture transposed across media. In his “Fragments,” 2000–, for example, the artist inserts into the gallery environment a large aluminum-and-plywood plane whose irregular geometry and matte black surface

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