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Free-standing mod-roc casts of a brick wall; it was cast from two corner parts of a gallery's courtyard.
Using the gallery space itself from which to cast his work, Oliver Palmer doubles and inverts those parts of the architecture which demarcate the gallery’s dominion. The ephemeral materials he uses both contrast with the building's 'permanent' structure and foreshadow its eventual (albeit much later) collapse or demolition. This almost fatalistic work sits at the point between the rational and the chaotic, self-destructive impulses.
Working primarily in what was once called sculpture, he builds site-specific and process-driven pieces in- and outdoors. His subjects of inquiry include positive and negative space, binary systems of logic, acts of making and un-making, reversible processes, and archaeology.
Influences on him include Robert Smithson, Richard Serra, Joseph Beuys, Gordon Matta-Clark, Mike Nelson, Fred Sandback, J. G. Ballard, Douglas R. Hofstadter, Nishida Kitaro, and Jean Baudrillard.
Using the gallery space itself from which to cast his work, Oliver Palmer doubles and inverts those parts of the architecture which demarcate the gallery’s dominion. The ephemeral materials he uses both contrast with the building's 'permanent' structure and foreshadow its eventual (albeit much later) collapse or demolition. This almost fatalistic work sits at the point between the rational and the chaotic, self-destructive impulses.
Working primarily in what was once called sculpture, he builds site-specific and process-driven pieces in- and outdoors. His subjects of inquiry include positive and negative space, binary systems of logic, acts of making and un-making, reversible processes, and archaeology.
Influences on him include Robert Smithson, Richard Serra, Joseph Beuys, Gordon Matta-Clark, Mike Nelson, Fred Sandback, J. G. Ballard, Douglas R. Hofstadter, Nishida Kitaro, and Jean Baudrillard.
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