Time has begun to feel rogue and a synthetic version has emerged. Instead of time flowing as it has been perceived, it pools and becomes undisciplined (wild). Dyschronicity dominates; beginnings and ends have no place anymore. You enter time rhizomatically.
This time-shift has created a nomadic creative class – one that consumes and reproduces information at an incredibly rapid pace, forming countless vectors. As if in Tarkovsky’s Zone, one meanders and zigzags through time pools leaving breadcrumbs in the hope of finding one’s way back to sanity.
Each work in TIME POOLS has its own stakes, origins, and extensions; each is a vector within a pool.
These vectors are not fixed; they are constantly radiating outward, branching off into new vectors on their journey. To elucidate this concept of nomadic vectors whizzing about within time pools, many of the paintings have sewn overlays of transparent film and film gels, which contain other elements – drawings, photographs, auction catalog pages, pills, fake fruit, ephemera, collages – which rotate and tumble inside the painting everytime it is moved, revealing infinite new compositions. The paintings become infoalchemical biomes.
Like a pool, the paintings mirror their surroundings due to the highly reflective nature of the mylar film. They are furthermore in flux due to the inclusion of the viewer and the environment into their compositions – evolving spectral tableau vivants – a place where time pools. In this sense, the works feel reflexively cinematic – capturing their surroundings while simultaneously broadcasting the viewer to herself within the paintings’ compositions. These works transmogrify the historical nature of a fixed painting into a simulated-time-based object.
About Marc Horowitz
Marc Horowitz (b. 1976, Columbus, Ohio) is a Los Angeles-based artist whose practice takes form in painting, performance, video, and photography, along with an innovative social practice that draws – in part – from backgrounds in traditional drawing and painting, commercial photography, and sculpture, along with recently formulated approaches derived from his studies in New Media. Equal parts postmodern and post-internet, Horowitz collages and manipulates images and objects – ultimately radically recontextualizing signifiers of historical and contemporary American culture. Referencing Francis Picabia as much as Mike Kelley, Horowitz creates a diverse but singular visual universe which aesthetically folds in on itself in unexpected and visionary ways.
A Creative Time Project Grant Awardee, Horowitz has taught at the University of Southern California, the University of California, Santa Barbara, and Otis College, and lectured at the California Institute of the Arts (CalArts), the Hammer Museum, Stanford University, and Yale. Recent exhibitions include: Jonathan Hopson, Houston; Johannes Vogt, New York; Bank Gallery, Shanghai; COMA Gallery, Sydney, Australia; Mannerheim Gallery, Paris; China Art Objects, Los Angeles; and the Depart Foundation, Los Angeles