DRAPED OVER ARMATURES or pinned to the wall in drooping swags, Eric Mack’s magpie conglomerations of found textiles and various sundry objects stage the morphing and buckling of the painterly support, the messy intrusion of surface into space. They recall the complex artistic history of such interventions while registering as ambiguously yet unmistakably sartorial. This impression stems partly from the thrift-store garments that Mack often incorporates into his (de)constructions, and it’s further bolstered by his use of dyeing, bleaching, and hand-stitching. But more fundamentally, the works reflect an unstable relationship to form and presence akin to that of clothing. Hanging in a closet, a dress or a shirt bespeaks the body’s absence while affirming that that body existssomewhere. A similar quality of immanence pervades Mack’s assemblages, a sense of simultaneous summoning
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