Moon-watcher, DXIX Projects, April 23 – June 17, 2017
DXIX Projects is pleased to present Moon-Watcher, a solo exhibition by Los Angeles based artist Christopher Richmond. Taking its title from the main ape in Arthur C. Clarke’s novel, 2001: A Space Odyssey, written concurrently while collaborating with Stanley Kubrick for his film, the exhibition continues Richmond’s exploration into the uninterrupted interplay of images and time and sound — removing all nonessential elements except for a singular gesture in the now.
In the main exhibition space the viewer can see the video Bone Cut (2017) in which Richmond focuses on the memorable introduction of the future in Kubrick’s 2001. In this historic scene, Kubrick juxtaposes two seemingly unrelated objects in the air, the earth-bound bone and the celestial spaceship orbiting earth, squeezing human history into one cut. In Richmond’s Bone Cut (2017), the viewer is mesmerized by the bone endlessly spiraling in the air. Yet, there is no progression from this primitive tool to the more advanced one — the spaceship, the future. The viewer is left in a state of suspension.
The work seeks to remind the viewer of some of cinema’s most salient technological imperatives: to break the causal rule of before and after as well as to overcome the Newtonian law of gravity. The bone appears to float and rotate endlessly in the never-ending moment. To obtain this effect, Richmond utilized match cuts as in 2001 — an edit that matches movement or objects to create a sense of “seamless” transition from one shot to the next. Ignoring the current trend of digital processing — the ability to render 3D forms and rotate them seamlessly with 3D software — Richmond utilized a far more laborious technique. He edited multiple shots with match cuts to create this continual motion that in rapid succession both hides and reveals itself.
Elsewhere, photographs are placed in a small dark corridor. These photographic works explore notions of subject and the ordinary imbued with enigmatic powers and projected into the vacuum of space.
Working in film, video, and photography Richmond explores identity and intimacy through the lens of science fiction and myth. Often employing masks, puppets, and everyday objects, his work merges the real world with handcrafted phantasmagoria populated by sentient creatures, alien beings, and “big dumb objects” that explore the human condition and the search for meaning.