Tynan Kerr “Numbers Pushers”. Opening reception Saturday, September 22, 7-10pm
Tynan Kerr is an artist living Los Angeles, CA. His upcoming show at Hair and Nails will be his first in Minneapolis since moving to LA in 2015. He also exhibits as one half of the painting collaboration AMTK, with Andrew Mazorol.
Paintings made from pigment bound in beeswax and egg yolk depicting scenes of alchemy, wobbily trees, fountains and death’s heads are accompanied by wooden chain saw carvings coated in neon wax. Ceramic approximations of ancient battery technologies are used to create electrical currents which activate the heads and power simple lights for dark times. There is an attempt at broadcasting radio transmissions of a potato powered dream numbers station whose transmissions, like fountains or movements of thought present a stable form but whose actual contents and arrangements are in constant flux.
“The way a potato can see is that it can’t see because it lives in the dark without light, and there can’t be dark without light, so it lives in the dark without the dark. Parts of it’s whole organism reach out with leaves to seek the light, transmitting information which must also infer light and darkness to the potato itself, the part left always beneath the ground. What must they think about down there without contrast?
When I was a kid I wanted to be a potato, because I could not understand what it looked like underground when one was underground. It was mysterious to me, and potatoes were imbued with that same mystery. There used to be a underground library in uptown, and when I heard about this as a child, before the first time I went I imagined windows down there looking out into the dirt, out into the distance of the dirt, all the way to the dirt horizon, that if you squinted just right you could be convinced you saw even just beyond the dirt horizon, the way only a potato could see.
Sometimes I think about making underground windows, and pressing different colors of stratified earth, gravel, roots and trash, some skeleton or another against the glass. I don’t always want to make these, probably not often enough. The same problems emerge, how would one light it?”