An Inch of Truth presents a selection of works by four artists all of whom expand beyond postmodernism’s preference for horizontal movement. Although the term “truth” in many arenas still functions upon a modernist, linear, progress driven model in which “truth” and “universal” are synonyms; contemporary thinking over the past three decades has caused artists to recognize multiplicities, fracturing and dispersal.

For some, the loss of absolutes results in an overarching skepticism, whereas in the works exhibited nonhierarchical multiplicities are seen and explored as multiple points of “truth” without irony. Together with the new circularity with which history is now being viewed, truth is contained and explored by its stylistic, conceptual and material treatment. This is not to suggest the desire for conclusiveness within these artists work but rather an ability to see infinite possibilities within an inch of truth.

Joshua Cardoso presents the most recent of his meticulously rendered, luminous, large scale ink drawings. On his surfaces letters, numbers and glyphs swarm and cluster in frenzied movements, finite but unfixed. The accumulation of tiny marks creates a highly seductive microscopic or cosmic myriad as observed through the apparatus of science or a non-ordinary state of consciousness. The seemingly intangible forms evoke both a scientistic knowledge of nature and a personal confrontation with the sublime.

Straddling the line between drawing and painting, Carsten Fock’s work essentializes that which it chooses to leave out thus heightening what is present. Born in 1968 and raised in East Berlin, Fock’s work is best known for the weaving together and editorializing of cultural and aesthetic histories. Both the seen: Capitalist slogans, literary fragments and popular imagery; and the invisible: their placement in time and space; are given equal weight. Their estranged relationship is consecrated by the exquisite, almost traditional quality of his brush stroke.

Daniel Gordon’s No Title, again turns photography’s “truth” on its head. Departing from Yves Klein’s montaged Saut Dans le Vide, Gordon hurled himself through the air in order to simulate split-second moments of flight. Anticipating the viewer’s “savvy” in reading manipulated photographic reality, Gordon reminds us of photography’s ability to depict the physical world while leaving as his subject the medium’s ability to deceive. Deprong Mori, a photograph of a fabricated, three-dimensional forestscape built out of found photographs, achieves a similar shift in our perception of the medium.

Through paintings, which at times take on unconventional supports, Jason Eberspeaker liquidates the distinction between the unique object of art and mechanized production. Working with flattened images, devoid of particulars, his highly varied collection pushes the aura of art past it’s breaking point towards a vacated, undefined mysticism. Finally, Eberspeaker displays to us a nuanced, irreducible, unreflexive painterly gestalt.