How do we measure ourselves by what we make? It’s a question that can be considered in two ways in relation to this show of sculptures by Trenton Duerksen and Aaron King. The first is a more literal interpretation of scale. We use our body as a consistent tool of measurement – a can fits in a hand, a butt fits in a chair, a scoop in the mouth. There is also the idea that at one point our creations were more limited by our physical capabilities. The strength in our muscles determined the size of something and the agility of our bones set the dynamics of its form. The Pyramids mark a pinnacle in the epic ratio between a human frame (aided by basic tools) and a colossal object. Great strides made by the Egyptians, along with many other cultures, brings to mind that willpower acting like a sap from the most important organ (the brain) can electrify the body to do things beyond its natural base of eating, sleeping and reproducing. This leads to the second interpretation of the opening question, which is more about self worth.

What we produce is directly linked to our sense of place and purpose in the world. This holds true for an individual, community, nation and species. The principle remains the same but the scale changes, and as a result the issues that arise unfold from one onto the others. As of 2008 America is in a crisis. There are many facets to our crisis but one that trickles down is the steady decrease of production within our country. We have surrounded ourselves with things we didn’t make and even worse we don’t know who did. The psychological effect from this physical alienation is perhaps causing the nation’s identity to evaporate.

The objects in this show reflect these conditions in different ways. In Aaron King’s work, piles, multiples, or modular structures are used to imply an accumulation. If something is piling up it is inherently tied to a larger indefinite number and the viewer, recognizing it as part of a larger whole, can develop a narrative around it. To further the confusion, he takes recognizable things and changes their properties through materials and the manner in which they are handled. For instance, ice cream made out of concrete is permanently stable and can be likened to a palette of bricks. Central to Trenton Duerksen’s work is the moment or potentiality of the pop, the collapse of the stored or accumulated energy contained in the sculpture, either frozen or illustrated by way of its construction and materials. There lies in each of his pieces a necessary agitation, the disconcerting energy that belies a pleasing surface or crafted aspect. Both artists make a strong case for what an object can gain by the presence of the hand. In doing so they emphasize their individualized standards of production.

*Every Saturday afternoon piano accompaniment will be provided by Andy Liu.