One year from the launch of Circuitous Succession Epilogue l, it is my goal to continue the series with introductions of more important artists and new work by other artists previously represented in the series. How can there be an epilogue to an epilogue one might ask–I view this exhibition as an extension of the previous arrangement and an optimal opportunity to encompass more artworks that deserve attention through this curatorial observance.
My considerations focus on the connection of artworks to other artworks, but also to the nesting of key artworks represented herein this series, in appropriate locations within the rare century old space of Masonic Contemporary. At times natural light and the atmosphere of this alternative space is utilized and at other times lighting supplements are utilized. The environment wraps around the artworks and the artworks equally draw back from the spacial elements. My foremost goal is that the public may gain enjoyment and the arousal of curiosity from this exhibition that is representative of contemporary artists who deserve a contemplative meditation upon their work. This show is not the final passage and additional artists will be introduced in the spring of 2016.
I spent a great amount of contemplation on placement of artworks within the space. While, placing every work in the show was a uniquely pleasurable highlight for me– two of my most epic experiences were linking a lenticular work of imagery by Stephanie Cosby within an elevator and a subtle sculptural work by Jessica Lund within a decaying portion of the building that unified the small sculpture's atmospheric needs. I am a curator with radical goals and do not aim to conform to precepts, but rather curate with the same intuitively experimental process inherent within the process of effectively making art.
Effective art making involves testing one's limits and pushing the innermost self in pursuit of unlocking deeper thought patterns within the mind. Experimentation through the investigating of mysterious and nebulous realms of the human psyche is part of the equation that factors into distinguishably necessary ingredients to the creative process. Traditional museums and galleries create a vacuum of space with few to no distractions, which allows the viewer to focus on the message signaled and communicated through the artwork. The art is given silence so that it may speak and have optimal cohesion to be experienced by the viewer. However, there are times when it is important to step outside of this precept and include the voice of the space itself in correlation with the artworks. In a sense, certain spaces that are charged with significant and often ancient energies are too powerful to ignore and demand inclusion into the presentation. When working in this modus operandi, it is the equal union of artwork and space as a secret puzzle that most stimulates me throughout the curatorial process.
–Jason N. Miller, curator