The Sentence Diagrams are based on an American system for teaching grammar to school children. My use treats it like a "found object", in that I am as faithful as possible to following its rules and logic, and embracing the contradictions and flawed conceptions that result. I only diagram quotations from other people, primarily authors and philosophers. The stuttering rhythm that emerges from reading the diagram, and the visual experience of language in space, inevitably alters how the meaning of the original sentence is understood. I love the idea that the analysis of the sentence affects its meaning: that there is no analysis of the "original", only the production of something new that is the experience of reaching out to a past intention.
The Disclaimers are photographic-based works that take little snippets of found language (on a cereal box, at the bottom of a television advertisement, in a magazine) and re-present them so they take on new meanings. I'm fascinated by their presence in the consumer world, because they signal an awareness that the images they are associated with are not really what they seem. And thus they hold the false promise that the real truth is to be located in the text! This promise is pernicious.
The Folded Couplets combine a pair of intertwined terms with a photographic construction of a decorative picture frame. The photograph of the picture molding is printed on both sides of a long sheet of paper, which is then folded to create a frame that “encloses” a central empty space. Their arrangement is meant to highlight the way the terms both converge and diverge. Or, we could say, the way they fold into each other, creating a dimensional picture of their meaning, just the way the image of the frame is less flat than it appears. The White Out drawings are made with white ink on top of photographic prints. These photos are set up in the studio, for the purpose of being drawn on top of. That is, they are created as unrecognizable images meant to be abstracted further by the drawing process. The White Out pieces present themselves as acts of pure drawing, if such a thing is possible.
Artist Bio / CV
Born 1975, Indiana. Lives and works in New York City.
1997 Indiana University, Bloomington. Bachelor of Fine Arts, Painting.
Minor, History and Philosophy of Science. Minor, Art History.
SOLO AND TWO-PERSON EXHIBITIONS
2010 Claiming Pictures. 65GRAND, Chicago.
Nicholas Knight / Kat Tomka. Hewitt Gallery of Art, Marymount Manhattan College, NY.
2009 Frame & Photo. Gallery 44 Centre for Contemporary Photography, Toronto.
Taking Pictures. Steven Wolf Fine Arts, San Francisco.
2008 Depictured. 65GRAND, Chicago.
2007 Sentences. Steven Wolf Fine Arts, San Francisco.
2006 Nicholas Knight and Hideki Nakazawa. Akus Gallery, Eastern Connecticut State University,
2005 Dia / Grammar. Eugene Binder, Marfa, Texas.
SELECTED GROUP EXHIBITIONS
Double Bind / Stop Trying to Understand Me! Curated by Sebastien Pluot and Dean Inkster. Centre Nationale
d’Art Contemporain, Nice, France.
One Hour Photo. Katzen Center for the Arts, American University, Washington, DC.
First Five Years. 65GRAND, Chicago.
Before and After. Eugene Binder, Marfa, Texas.
Bochner, Cesarco, Katchadourian, Knight. Eugene Binder, Marfa, Texas.
Rubber Sheets. C.R.E.A.M. Projects, Brooklyn, NY. (curated by Nicholas Knight)
A Day Without Post-Modern Irony. Eugene Binder, Marfa, Texas.
ValuMax. Steven Wolf Fine Arts, San Francisco.
Accidental / Coincidental. Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, Staten Island.
Curated by Frank Verpoorten.
Aqua Art Fair. Steven Wolf Fine Arts, Miami.