Framed by metal I-beams, aluminum cladding, or flooring boards, Eamon Monaghan’s chaotic dioramas seem able to burst from their very own confines. Constituted of on a regular basis supplies like cardboard, tinfoil, wire, and epoxy clay, his sculptures seize harried moments of disarray seemingly frozen in time.
Within the artist’s present solo exhibition, Below the Floorboards at Moskowitz Bayse, the sculptures leap off the wall, angles jutting this manner and that. Beams intersect with home equipment; flooring boards bend; stairways emerge from nowhere and terminate in open house; and radiator steam infiltrates the whole lot in its path.
Monaghan attracts on the work of Twentieth-century underground legends like cartoonist R. Crumb or clay animator Bruce Bickford. Within the artist’s three-dimensional scenes, tiny figures typically emerge comically half-concealed, typically grappling with the state of affairs at hand and typically merely swept up within the motion.
He embraces unpredictability and farce, playfully inspecting the relationships between stability, motion, time, and a way of management. In “Stages,” for instance, a sequence of platforms and rooms shift round in a puzzle-like association, with one determine apparently taken unexpectedly by a metal beam, one other crawling behind a curtain, and one more handed out on a settee whereas serving to to “pull the strings” of the complete uncanny manufacturing.
Below the Floorboards continues via March 29 in Los Angeles. Discover extra on the artist’s Instagram.
