Human beings are meaning making machines. The objects and events in our life connect and facilitate understanding based as much on their inherent implications as on the associations to memory, critical thinking and intuition that they inspire in us. This is one of the myriad reads possible in the show “Logical Operator”, now on view (through March 12th) at Corridor Gallery (334 Grand Avenue). Curated by Karen Codd, the show examines the degree to which the art object, the “logical operator” of the show’s title, can serve as the connector between artist / idea, idea / viewer and viewer / meaning.
Considered curatorial choices and a congruous installation distinguish this fine, three-person show as much as the artwork itself. The works, photographs, paintings, found objects, capture the premise of artwork as catalyst/intermediary with those works with the greatest degree of subject matter ambiguity rising to the forefront of filling this bill.
In Andrew Laumann’s “Letters to God Series”, found notes are salvaged and re-presented, to puzzling effect. Examples include a stepped-on yellow Post-It Note, upon which a mystery writer has scribbled “I’m not like Rome, I was made in one day …” and an amusing to-Do List, including the Herculean/banal tasks “Get Closer to God, Get Closer to Kids, Mother, Father and Brother … 220lbs of Muscle.”
The lush and arcane photographs of Grant Willing (evening bonfires, hooded figures and enigmatic rapiers) add much to the show and a pair of water-media paintings on paper, “non-mechanical 1&2” by Dawn Blackman round out the show nicely. These last paintings, twin chain-link abstractions with colors bleeding and seeping into one-another, emblematically summate the gelling and coalescing of information into personal understanding, a neuro-web that both contains and restricts comprehension.