Reverse Arrival is an investigation into circular logic.
In Reverse Arrival, a 10,000 ft² grocery store is gutted out and white washed. The abandoned store is compartmentalized into various smaller “rooms” and segments of the tiled flooring is coated with a reflective silver finish. To further conflate interior and exterior architecture - several large, bright yellow brick walls are displayed amongst exposed wooden studs, and paintings of window blinds are rendered hovering above a gradient of yellow.
An anvil cast of aluminum rests on its side atop a mirror, its image doubled below. The anvil is made from aluminum sourced from contemporary tools and technological devices. Parts of cell phones, computers, automobiles, and even scraps from airplanes were all melted down and cast into the form of this archaic object - the anvil - a tool used to make other tools. A projected video loops in one of the smaller rooms in which a 3D rendering of the anvil infinitely falls past wisps of white clouds through an ochre colored sky.
A familiar storage shelf is painstakingly recreated out of carved wood. Two brown paper bags, actually made of metal, appear to float in an odd plexiglass compartment wedged in the center of the shelf. Hyperrealistic resin casts of rotting bananas sit below the bags. On the bottom of the shelving unit a plastic bag, made of metal, rests delicately poised like a forgotten trophy.
Adjacent to the shelving unit a baseball hat is displayed in a vitrine made of highly reflective two-way mirrors and yellow tinted plexiglass. The tattered wool hat is slowly being digested by a colony of moth larvae that the artist raised. To arrive in reverse is to leave. Across from the hat, a crude hole is carved out of the base of the drywall. A translucent yellow venting grate is recreated out of plexiglass to the exact dimensions of the paper mache grate Frank Morris constructed to escape from Alcatraz.
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