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Invisible Sculpture is a sardonic attempt at fabricating abstract forms reminiscent, at least conceptually, of dark matter. The actual aesthetic interest of these shapes lies in their invisibility: each one marks a blindspot to advanced microwave radar technology, designed in conjunction with physicists in the field based at the Harbin Engineering University.
Invisible Sculpture advances a nominal opposition in the form of objects that actually do not exist, at least by some measure; this slippage of intelligibility or legibility serves to undercut the work of the artist by transforming formal choices (and, indeed, the question of style itself) into technical question with no relation to the idealized exhibition viewer. In some ways the most powerful gesture at work here is the supposition of a second audience, an invisible audience to which the sculptures exhibited would actually appear invisible.
These works (whose forms and titles perhaps appropriately bring to mind Modernist principles and precursors) are physical manifestations of a breath that dictates their form and as such are another way of “looking in the wrong direction.” These particular breaths are the slipping between of tenuous points of analysis, a playing with analytical resolutions one step beyond what these methods can detect.