Gus Albor’s latest exhibition Encompassing is an experimental play of contrasts and surfaces. At its center stands a 7ft-high interactive revolving door made of metal and acrylic. Fastened on its acrylic wall is a paper in white, gray and earth tones, while charcoal, sticks and pencils are attached to the door’s blade or vertical side. As one enters and the door turns, thick and thin horizontal linear imprints marks the paper — creating in the process flat abstracted pieces. Parallel to this is a large painting inspired by the structure itself; however, this time, static and steady.
This duality in experience allows viewers to see in one space both the dynamic and changing beside the stationary and fixed. The interaction created by the mechanism also breaks the division between artist and spectator as visitors become instrumental in the very generation of the markings on the paper. In its entirety, one is able to witness the possibilities in producing works of minimalist abstraction.
Conceptualized in 2012 in MKahoy, Batangas, the piece was a version of Albor’s entry to the Venice Biennale four years ago that didn’t proceed due to logistical issues. (Iris Ferrer)
Artworks from the Show
Encompassing, Gus Albor, 2019, acrylic and steel, 87×81×81 in
Evolve, revolve, revolt, Gus Albor, 2019, acrylic on canvas, 70×58 in