DEEP WATER COLD FISH

     The sculpture is cold in installation, warm in individual form. It has the physical presence of a single eyelash and a mountain peak. It is vastly cerebral, by Netflix terminology.

     Carrie Myers is a true sculptor in the light of Charles Ray or Eva Hesse, Richard Tuttle or Mike Womack. She is looking at nature, clearly, and grazing social issues like environmental waste, material, and sustainability without jeopardizing a still and quiet kind of magic that happens when visiting DEEP WATER COLD FISH.

     By magic I mean transparency. How can a thousand pounds of glass and mirrors feel so restful, so purposeful and infragile. Everything is floating. This is the room of compartmentalized reality, every object hovering over the line between banal and regal, between ice and atmosphere.

     The work lacks a specific sort of sweetness, a quality that often comes with this sort of sculpture, but elicits warmth and empathy. Every product is contained with display of control and the complete loss of it.

     Association is like poetry for viewers. Approaching a small sculpture on the floor, constructed of a two foot cut of 4x4 softwood carefully wrapped in two separated squares of bubble wrap adhered to the wood with yellow and black para-cord, viewers are given an offering. The viewer is asked to introduce themselves to a foreign entity, and to be open, understanding and kind. The materials are familiar while the logic of the work is extraterrestrial. One might engage a narrative, maybe the bubble wrap and para-cord are a device for the figure, the wood, functioning as clothing. The associations, the narratives and poetry are subjective, and personal. To have a relationship with the work, it is necessary to offer oneself to it. This is not the kind of art that reads quickly, it is not meant for entertainment exclusively.

     Two mirrors carefully wrapped in blankets, supported by a square cut of light plywood, birch, lean against the wall of their own room. They're not mirrors at all, however, when standing between them so one's own reflection is invisible. They are portals, extending the space into forever. Entrances into caverns of subjective realm, a space of democratic logic and romantic fear.

     This phenomenon is echoed by other mirrors and glass. DEEP WATER COLD FISH is installation-specific, reliant on the viewers passage through, and visible space of the work. There are small punchlines offering breathing room among the featherweight doom of the show. Foam wiggle worms friendly and dancing over the confrontation of reflection and transport.