about the exhibition
January 15–May 10, 2009about the artist
Marfa-based artist Adam Bork creates multimedia installations that combine recycled technology, appropriated imagery, photography, and sound. The artist, known by Marfa locals as a jack-of-all-trades, works from his geodesic dwelling. Using the angular space as a temporary gallery for his eclectic work, Bork's home features stacked sculptures composed of low-fi computer and television monitors. The multimedia images glowing from these ancient screens feature Technicolor sequences and eerie footage of blinking eyes.
Bork studied studio art at Southwestern University in Georgetown, TX from 1988-1991 and photography at School of Visual Arts in New York, NY (2000-01). Bork has had solo exhibitions at Marfa Book Company Gallery, TX (2008); Wichita Falls Museum of Art, TX (2007); and Galleri Urbane, Marfa, TX (2006). His photographs have served as the primary design element in album covers for the band Soul Hat (Epic/Sony Records), one winning the Austin Chronicle Best Album Cover 2nd place award in 1993, and another winning 1st place in1995. His short films have been screened at the Alamo DraftHouse, Austin, TX Other Cinema, San Francisco, CA; and The Wichita Falls Museum of Art, TX.
about the exhibition
For his WindowWorks exhibition, Horizontal XXV, Bork presents 25 '80s-era Commodore™ computer monitors. The symmetrically placed screens feature a series of fluctuating bands of color that combine to create a single, linear work. Bork constructs this hypnotic color-field imagery by digitizing and colorizing old, blank film. The east-facing nature of the window façade bleaches out the monitors in the morning light, and the work slowly gains potency as the sun moves through its daily cycle. The color band achieves maximum strength after dark, as though this troupe of archaic equipment has gathered solar energy-stockpiling vibrancy for the twilight debut. Bork's color bands can be likened to minimal color field paintings by American artists in the 1950s and 60s such as Barnett Newman and Mark Rothko. Bork reenvisions the rigid geometry of colorfield imagery, presenting a composition that mezmerizingly flickers through the color wheel.
Accompanying the filmic work is an equally methodic soundtrack, played from exterior speakers. The sustained drone rises and falls in volume and emphasis-resulting in a two-part experiential process, comprised of equal parts color and sound.