image text special shop

'The Commune' by Michael Jones McKean at Super Dutchess Gallery, New York

article image; primary-color: #766C6B;
article image; primary-color: #514E49;
article image; primary-color: #A4A38E;
article image; primary-color: #BFCFB5;
article image; primary-color: #B9C8B1;
article image; primary-color: #E1B58E;
article image; primary-color: #E8B588;
article image; primary-color: #E5B68A;
article image; primary-color: #EDB987;
article image; primary-color: #2B281F;
article image; primary-color: #756B6A;

SUPER DUTCHESS is pleased to present a new solo project, The Commune, by US and France based artist Michael Jones McKean.

With this new sculptural work, McKean presents three interlocking and spatially compressed vignettes: a cave diorama is conjoined to a tiled room containing a tree growing hyperbolically into an adobe-hued space. Composed within this shadowless zone is a levitating human bone, a used Band-Aid, a small clay slab and a pair of crudely made human eyes which rhyme visually with two tree leaves cantilevered above.

As with McKean’s previous work, The Commune depicts a fully replicated, flattened-out world where small, discreet spaces are coaxed into much larger psychic portals. Objects each claim their assumed 4-dimensional volumes, yet shed their mass, floating, inert within the sculpture’s composition.

The Commune utilizes Super Duchess’ unique context as a gallery only assessable at street level, in the process recalling the aesthetic of shop windows or product display. Yet each object within McKean’s cosmology quietly prompts an elaborate secondary (and perhaps tertiary) set of referents, roaming from regional natural history museum dioramas to OLED smartphone screens, from pre-literate religious triptychs to future leaning sci-fi aesthetics, from Greek votive sculpture to ubiquitous emojis.

Even as The Commune might take formal cues from the cells of a comic, or the panels of a tryptic, or even more abstractly as a three-act play, McKean’s installation exists absent of causal, linear time, instead building more wanton strains of narration and meaning-making.

At its core, The Commune presents a simple set of objects in association : a tree, a cave, clay, bone, a bandage, a hole, and eyes. This last object—eyes—exist somewhere near the sculpture’s gravitational or spiritual center as to underscore, in the crudest and most materially lo-fi terms, something emergent, perhaps sentient — the sculpture believing itself, communing...

23.2.19 — 30.4.19

Super Dutchess Gallery

'CRUSH' by Artem Briukhov at CHIRKOV Gallery, Birsk

'Burn the Rain' by Troy Barrett at Smart Objects, Los Angeles

'KALON GLAZ' by Victoria Palacios at Panamax, Liège

'Bodiesbodies', Group Show Curated by Lucrezia Galeotti and Giacomo Pigliapoco at

'la fiebre de las formas', Group Show at Colette Mariana, Barcelona

'Sunsets', Group Show at Everybody, Tucson

'Bushels of Goodness and Warmth' by Jordan Derrien at V.O Curations, London

'Etica, Tecnica e Pathos' by Marco Strappato at The Gallery Apart, Rome

'200 km/h in the Wrong Lane' by Mona Filleul at SIS123, La Chaux-de-Fonds

'Come Hell or High Water' by Rosario Aninat and Simon Shim Sutcliffe at Mutter, A

'PCS: Post Concrete Semiotics' by Skygolpe at Nighttimestory, Los Angeles

'Wardrobing' by Mitchel Cumming at Disneyland Paris, Perth

'Ouverture', Off-Site Show by Karina Azizova, Moscow-Istanbul-Paris

'Millennium Approaches' by Cole Lu at Nir Altman, Munich

'Momenti della verità' by Giulio Paolini at Galleria Massimo Minini, Brescia

'Dead Mall Nails' by Anastasia Sviridenko and Lukas Malte Hoffmann at Formis, Tam

'scaling winter' by Littlewhitehead at Public Gallery, London

There’s the limitation where all marks must be permanent. Michael Bussell in con

Next Page