My most recent photographs examine the space of the contemporary art gallery, mapping its physical territories from the vantage point of a forensic minimalist. These Gallery Horizons focus on the otherwise unobserved and mundane details from within the pristine, idealized architecture of the contemporary art gallery’s white cube. As an invocation of George Brecht’s “Six Exhibits” (ceiling, 1st wall, 2nd wall, 3rd wall, 4th wall, floor), the photographs break down the physical elements of the exhibition space to its observable DNA. Using the visual language of modernism, concrete and drywall are reimagined as cultural and psychological landscapes to be surveyed and documented. Gallery Horizons merge micro with macro to collapse the distance between near and far, interior and exterior, the mundane and the sublime, dislocating the viewer from a single point of view directed by the aesthetics of its architecture. Shown in tandem, the horizons vacillate between their specificity as mini-archaeological sites, and their structural conformity to the architectural convention of the white cube. Finding the sublime and universal among the minute particularities of dust and debris, they expose the unexpected forces of entropy that operate beneath the art intended to be our focus.

Aligned with John Cage’s experiments in silence, Robert Rauschenberg’s white paintings and Robert Smithson’s Sites/Non-Sites, the images meditate on the idea of Nothingness, revealing the art world(s) to be subject to the same laws of chaos and order that govern the natural world. The photographs chart mythical territories to reanimate the context of art (the gallery) as its content (art), positioning both within a larger ecosystem, and beyond the confines of display and commerce.




Breeding Dust: Cynthia Greig's Galleryscapes
Essay by Michael Petry, 2014
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