Atrium Display: Ken Butler, Hybrid Visions
Artist Statement
Contemporary urban life is a bewildering collage of multiple images, ideas, sounds, and objects in a constant state of flux as information overload becomes the touchstone of our age. As we move from the mechanical to the electronic, this churning mass chews up and spits out material with re-assigned priorities and updates. The resulting detritus is a living corpse – a random and chaotic body of juxtaposed and deconstructed items and associations. From this storehouse of forsaken objects and hardware I, the urban bricoleur, further dismantle and reassemble the consumer society into assemblages in the form of musical instrument/objects, then coax them to sing for their supper.
Biography
His works have been reviewed in The New York Times, The Village Voice, Artforum, Smithsonian, and Sculpture Magazine and have been featured on PBS, CNN, MTV, and NBC, including a live appearance on The Tonight Show. Awards include fellowships from the Oregon Arts Commission, the New York Foundation for the Arts, the National Endowment for the Arts, and the Pollack/Krasner Foundation. He won first prize in the 2016 international Guthman Musical Instrument Competition at Georgia Tech University.
Butler has performed with John Zorn, Laurie Anderson, David Van Tieghem, Butch Morris, The Soldier String Quartet, Matt Darriau’s Paradox Trio, The Tonight Show Band, and The Master Gnawa musicians of Morocco. His CD, Voices of Anxious Objects is on Tzadik records. Works by Ken Butler are represented in public and private collections in Portland, Seattle, Vail, Los Angeles, Toronto, Montreal, Washington, Paris, Tel Aviv, and New York City including the permanent collection of The Metropolitan Museum of Art. He resides in Brooklyn, New York.
Created primarily from consumer detritus with a patina of use, the hybrid instruments express a poetic spirit of re-invention and hyper-utility as new associations momentarily create a striking and re-animated cultural identity for forsaken objects. String instruments become body, tool, weapon, toy, machine, phallus, creature, fetish, sculpture, icon, symbol, and voice. Pianos become cybernetic and symbolic architecture. Anxious objects speak in tongues.
Collages
Collages and other flatworks, made principally from altered photos of the artist’s hybrid musical instrument sculptures, further re-configure and amplify the head-neck-body ergo-iconography of string instruments, pushing it into the realm of abstraction and color-field painting. The hands-on physicality of these works echoes the improvisational sensibilities of making live music and creates a reliquary of silent sound shapes that reflect this transition from found object to body to instrument to abstract icon and architecture. Proportion, balance, harmony, texture, scale, tension, release, dynamics, and resonance aptly apply to numerous art forms.
Drawings
In addition to the collages and assemlages, a series of complex and detailed pencil drawings from 2004-05 illustrate envisioned and often elaborate audio-visual sculptures and installations that further extend the formal dialogue of art forms and the transformative deconstruction of musical instruments into surreal realms of high and low technology and invention. Bicycles, pianos, projectors, musical chairs, exotic racing cars, and dinosaurs are subjected to transformation and re-construction.