Mark Dorf: Transposition
What kinship exists between language and nature? Science and art are comorbid in wonderful and embellished community. There is a complex, an infinite reproduction of space and natural world. Fabricated environments obscure origins; finding beginnings is impossible. What is reality? Break down, unrecognizable. If the plausible is captured, its execution is realized in the commitment of Mark Dorf’s show Transposition. This is Dorf’s second solo show at Postmasters Gallery in New York City, which propagates new visions and inquisitive illusions. Hounds and pillars of bark and verdure embellish places profound in lush flora. But those places we idolize as propagates of plants and gardened colors are not without their own botanical cretins of embellishment. Dorf’s choices to simplify continually exchanging in-between spaces form distinguishably new ideas.
None of the works represent the things originally seen. Where did they come from? Descriptors of consciousness become characters of what’s not exactly in front of you. Calling sounds marked by new parts; trees becoming duplicitous. Lines and zestful visual devices perpetuate elements forming vowels and voices. The Earth speaks. Tools construct parts and influence. Descriptive qualities become important problem solvers. Discourse and diction are able to transfigure in the face of Dorf’s imagery. The time allotted to artistry is full figured and mounted in constructions and presentation. What makes case in the associates of Transposition is contemplative encounter. The works are corporeal; the symbiosis of viewer is its stimulant—hypnotized and harmonious spectrum. Variables become consumed.
Interaction and changes blur lines and gravity seems weak. Look down. Structure and digital consumption fuse the Earth. Holdings of acres become rich and ached in a new abeyant kingdom. Strange phenomenon. Everything is impeccably beautiful but also ugly and desolate, consumed and fetishized. Something is revealed through such hidings. Infinite malleability of surface. Planes are grounded in reality and invisible becomes capable and physical. Worlds can affect viewers so directly, they can’t affect back. Piercing sight the works pulp shifts. Hypothesis allows for revelation. We live in complex systems. Parts fuse, organic feeds the manufactured and so traverse back again.
Intricacies devour themselves. A structure of new life filled with affection and jargon consummates Dorf’s exposure. Conflated gest with qualities and description become remarkable and exquisite. They have within them the desire of fable, photographic yes, but beyond that astoundingly artistic. The Earth’s psyche is revealed in the forms of creative mind. That which is possible resides inside us all. Dorf is an instigator. The body is buried, feel it coming on and leaving you. The forest calls out in gesture; an attraction to the summons is utilized by the treacherous introduction of mysterious birth. The marsh calls for intervention, it is ripe for it. Manipulative qualities, absurd in definition are yearning to be heard.