San Francisco

View of “James Sterling Pitt,” 2012.

View of “James Sterling Pitt,” 2012.

James Sterling Pitt

Eli Ridgway Gallery

View of “James Sterling Pitt,” 2012.

In her 2011 book Under Blue Cup, Rosalind Krauss understands artistic medium as “a form of remembering”—a metaphor made poignant by the loss and recuperation of self she experienced following a brain aneurysm (a disruption the book both describes and, in its fragmented, aphoristic form, mirrors). Like Krauss, artist James Sterling Pitt also underwent intensive physical and cognitive rehabilitation after a brain injury, and, in the wake of this sudden change in state, he too allowed the disorientation to inform his work, specifically by adapting his art to function as a mnemonic system.

“On a Clear Day We Were Lightning,” Pitt’s second solo exhibition at Eli Ridgway Gallery, comprised some twenty painted plywood sculptures, each bearing a different abstract form that the artist had derived from a visual diary he uses to mark time and document events. However, this “object-based

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