KYLE CHAPMAN. WAIT, WHAT?
I went to the market: the usual, tea and lentils, and why am I texting anything, I mean this opacity, and sometimes the monologue emerges like a joke in Coptic and I’m not an expert. I also thought that maybe you could restore that phantasmatic veil, the one that at some point was lost. Strange, I lost the phantom and I gained a ghost. I’m heading to analysis now and I’ll try and bring something from the Kosher market on 41st, and we will continue devouring the sunglasses you lost, the brick wall that merged with the floor without falling, flattening a translucent green man as a lettuce sandwiched between tiles and bricks. Access, access, a letter that begs for access. A letter is a far cry, in a way. And maybe a crucial triangle between the Threatened Word1, the Etymology of Passions2 and The Happy Apocalypses3. Somehow, the battlefield is anonymous, there’s no face, no image reigning. A battlefield as a gesture and a container at once, not being one or the other, that is, Kyle, what I think is happening here. If the pages of the gallery continue to turn into windows, then each move and countermove must avoid what is merely reactive, so, each gesture that is planned increases a displacement in the game. And we may not see the Store Experience Manager, but we can see the hysteric shop that houses your painted films through the glass bouncing us. What has been flattened trough the window is a sum of letters that you’ve collected and their exhaustion is exactly what you are protecting. Perhaps the exhaustion is a fruit, the fruit of a thousand codes that present the text with the possibility of its very own anxiety?
Diego Singh, Normandy Isles, 2015.
Kyle Chapman was born in South Africa. He has studied Interdisciplinary Practice and Fiber Manipulation at the Kansas City Art Institute and at New World School of the Arts. His work has been exhibited at “A Certain Sensitivity” at Space Mountain, 2014; Mythmaker at Paragraph Gallery, Kansas City, 2010 and Liminal Obitus at Scope Miami 2006. His first solo show will be held at Central Fine, Miami Beach.
1.-Bordelois Ivonne: La Palabra Amenazada: Libros del Zorzal, Buenos Aires, 2003.
2.-Bordelois Ivonne: La Etimologia de las Pasiones, Libros del Zorzal, Buenos Aires, 2007.
3.-Bordelois Ivonne: El Alegre Apocalipsis, Grupo Editor Latinoamericano, Buenos Aires,1995.