Cris Bruch

Fuller/ Elwood Gallery

Cris Bruch seeks to engage himself intimately with the urban environment, the way that primitive peoples connect with the natural world. Toward that end he turns much of his daily life into rituallike performances or tasks. Pressure drawings, such as Washington Third Yesler Second, 1989, are the result—the formal record—of his self-described “treks.” Lugging large sheets of paper around a city block, he picks out significant landmarks along the way: manhole covers, brick patterns on a wall, the texture of wheelchair-slopes at the curb. Using graphite, crayon, and wax, he rubs these patches of information into the paper; this punctuates the journey that he has taken, giving it a pulse and form. These mostly black and white patches of information also serve as an emotional history of the process he has gone through. They are experienced, not as static representations of the pedestrian life

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