 |
||
|
In her most recent work, Iodine (2005), Lim furthers the trajectory of her examination of urban spaces and movement by pushing the limits of Plexiglas, her chosen material. The works in this series are inspired by Lim’s attraction to roller coasters, chaotic structures that are located in the fully artificial landscapes of amusement parts. Once constructed out of wood, roller coasters are now fashioned from sophisticated synthetic materials that rely on ever-more complex equations of the laws of physics to create disorienting experiences for the human body. Just as technology has escalated, so too has Lim tested the possibilities of her materials, creating tangled, thin ribbons of Plexiglas arranged in fantastical shapes and contortions. The mirrored surface on which this fiery orange and blood red piece hovers lends a feeling of infinite space. Iodine produces a multi-sensory experience for the spectator by elevating and transforming basic materials into interactive and highly polished architectures.
Amy Myers’s gigantic drawings are unique in this exhibition of mostly three-dimensional objects. Although flat and rendered on paper, her works make reference to sprawling universes, or conversely, to the nucleus of a subatomic particle. Depending on your perspective, you may experience her works at either the macro or microcosmic scale, but in either case there is a palpable sense of confrontation, of facing a technologically-inspired system deeply rich in information and redolent of the chaotic order of the cosmos. Highly detailed, Myers’s drawings appear deceptively to be mechanically produced—or at least aided by a mechanism—which is decidedly not the case. As a matter of fact, Myers draws entirely freehand and her spectacular, intricate, and laborious drawings are not premeditated: they are based on chance compositions.