los-angeles

Dwyer Kilcollin, Sunny 5pm Frame, 1st Position, 2014, silica, glass, calcium carbonate, feldspar, dirt, pine needles, resin, bronze, hardware, 33 1/2 × 22 1/2 × 4". M+B.

Dwyer Kilcollin

M+B/LAXART

Dwyer Kilcollin, Sunny 5pm Frame, 1st Position, 2014, silica, glass, calcium carbonate, feldspar, dirt, pine needles, resin, bronze, hardware, 33 1/2 × 22 1/2 × 4". M+B.

For three days in early November, on a hillside on the east side of Los Angeles, Dwyer Kilcollin erected a freestanding metal fence on which she mounted “algorithmically derived image-shapes” she had cast by hand from computer-generated 3-D models. Boundary, screen, and makeshift gallery wall, the armature further served as a viewfinder: Through the chain-link grid, the tree- and house-flecked expanses of the surrounding rises became conflated with their pictures. These “image-shapes” (as the show’s press release described them)—small, rectangular reliefs—translate and, in their incorporation of various organic matter and pigments (silica, glass, calcium bicarbonate, feldspar, dirt, and pine needles largely culled from nearby), ossify the landscape on which they are based. Seen from the right vantage point, the panels effectively redoubled the sky, the horizon, and the

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