reviews

Bruce Tippett

Betty Parsons Gallery

Bruce Tippett arbitrarily loops and buckles yards of wide, rubber floor-matting all around the gallery. Seen purely formally, as a colossal uncoiled strip, the work suggests that the giant artist “responsible” for Lichtenstein’s playful giant Brushstrokes has been at it again, his material this time not paint but a slightly more sinister black ribbon.

Tippett’s work also has less gargantuan connotations. It draws mildly on the urge we have to follow those brightly colored sidewalk footprints into the store. Since commonly used as an indoor path, matting implies the experience of walking, is read as “evidence” of walking. When that evidence is literally twisted and kinked far out of the ordinary, we read the experience as twisted and kinked too. In low-keyed fantasy our feet travel the matting’s path, in one eerie case straight up the wall to the ceiling.

Some might merely link Tippett’s use

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