select works from Xiao Tse, Meryl Bennett & Matt Taber and Anders Lindseth. images courtesy of the artist.

 

I have always been one for the notion less is more. My tastes are and almost always have been wholly minimal. It is easy for me to find inherent value in taking things away - this signifies so much and nothing at all, all at the same time. The meditations are clean, and often quite a trial to access - just the kind of bang your head against a wall challenge I tend to enjoy. It comes with a kind of acetic and often unsettling embrace, complete with all sorts of inbred fears regarding true sustenance, and it also makes the work a whole lot easier to, in a word, ignore. Don’t feel like confronting the empty white piece on my wall? No problem, it blends in with the room, the text is so imperceptible I am only vividly reminded up close, when I have made a distinct effort to experience it. Sure, there is a visual recognition and probably somewhere I am reminded of my past afternoons sitting with the light and the blank text in the frame, and all the things the work gave to me, but I am met with no immediate visceral acknowledgement. Supposedly, things are easier this way, when I can pick and choose my moments of deep thought at leisure.

We all collect art for different reasons, but I like to think there is one impetus we all share - that is the utter and profound moment when we connect with a work and it begins communicating with us. In the wake of the times we happen to be alive in, I know that I need this kind of communication more than ever. It is my number one priority, and one of the only truly restorative habits I partake in. Thinking on this, I had to ask myself, do I gravitate toward a quiet aesthetic such that I do not have to be bothered by it?

The idea for MORE IS MORE began in a different place, somewhere circumnavigating the focus and tension between emerging artists and established works, in wanting to exacerbate the dawdling market, in the faint nagging of the idea to share and exist in a colorful physical space. I think you’ll find that all of these variables fall to the sidelines upon walking into the gallery. Each of these works are so individually stunning, particular and boundless that to adequately express my gratitude in bringing them all together would be nearly impossible - I too am just beginning to embrace the full latitudes of such lurid and stark abundance.

-Claire Molek