MARFA

2014
enamel, acrylic, pencil, ink on wood, metal, plastic
132 x  x 25.1 x 7.6 cm
52 x 64 x 3 inches

CLUMSY'S COMMENT

Colson’s “MARFA” is a sculptural drawing made with straight sections that are bolted and bracketed together. The joining together of cut pieces of metal and wood by unpainted bolts echoes Judd’s combinations of fabricated boxes, especially the ones he did after a 1983 trip to Switzerland, where he learned about a small company that used coats of pigmented powder, instead of paint, to color sheets of aluminum. There is something very American and New World about Colson’s “MARFA.” This is not an Old World or European-style map.

This is what I find captivating about Colson’s deadpan work: he reveals something about the way we live — through a map, a pie chart, or the silhouette of a piece of machinery — that makes me curious to know more about the subjects he chooses, while underscoring how little I might actually notice about the world we commonly share, its constant parade of signs.

John Yau, Ways of Traveling

ABOUT THE ARTIST

Greg Colson's work is often completed by various "conflicting gestures". He attempts to "allow the rational systems he depicts to be disrupted and contradicted by the material and physical contexts they are placed in." Whether his 'conflicting gestures' question the contradictions in our society or express the paradox inherent in our lives, he seems to propose a contemplation. Colson often uses standardized systems (maps, charts, floor plans, etc.) and seemingly comments on the intrinsic contradiction that lies in the rational foundation of our society. But this is neither cynicism nor criticism. It rather leads to a unique viewpoint of his own, a playful stare. Each artist possesses or creates his/her own unique contradiction. When Colson reacts to the world's inherent paradox with his own contradictory 'gestures,' a certain equilibrium seems to be reached. This might be the reason why his work feels like a contemplation rather than an argument.

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