new-york

Edith Dekyndt

Parker's Box

Like a gothic remake of the mysterious globular security drones that were the bane of Patrick McGoohan’s existence in the 1960s TV classic The Prisoner, Edith Dekyndt’s Ground Control (all works 2008) hovers a little too close and a little too large for comfort. An inky black, helium-filled polypropylene balloon, this ominous airborne sculpture laid claim, in distinctly intimidating fashion, to the front of Parker’s Box’s Brooklyn space during the Belgian artist’s recent New York solo debut, easily the most assertive work in an otherwise gentle exhibition.

While Ground Control might recall Fiona Banner’s experiments in concrete typography (think of the balloon as a blown-up period), Dekyndt’s most obvious counterpart is another Brit, Ceal Floyer. Both artists are concerned with the ephemeral and the immaterial, and with exploring those interests through minimally invasive aesthetic strategies

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