Philip Estlund: Subprime/Subtropics
Funding for Phillip Estlund: Subprime/Subtropics is provided in part by a grant from Funding Arts Broward.
Mar. 24 – May. 27, 2012
Opening Reception: Fri., March. 23, 6 - 9 pm
Subprime-Subtropics is Phillip Estlund’s first solo exhibition in Broward County. The Lake Worth-based contemporary visual artist will exhibit sculptures and two-dimensional collages that inhabit the psychological and physical terrain left behind by man-made and natural disasters. Estlund’s work deals with concepts that while at times are more urgent to the region are also global concerns. He is an observer of nature – both human and environmental – and an explorer of psychological space, physical terrain and raw, found materials. By taking the raw detritus that is left behind from natural disasters, such as hurricanes and tornadoes or manmade waste from old construction, he collects and reconfigures these materials as formal sculpture that reflects the “lower” architectural vernacular of South Florida.
Estlund also works obsessively in two-dimensional collage which further examine this form of mankind’s hubris and naivety in his domination of his environment. Nowhere is this more evident than in the vulnerable hurricane and drought region of South Florida. Recently featured in Collage: Assembling Contemporary Art, a historic anthology of collage from Picasso and Duchamp to John Stezaker and Wangechi Mutu, Estlund’s collages are again entirely recycled images from old books on landscapes, field guides, modernist architecture, hunting and fishing, and “Do it Yourself” home improvement. Images of fine upscale interiors, people in leisure and recreational activities are laid over and collaged onto found pieces of wood and rusted metal that have some kind of existing markings, which ultimately relate to architectural forms or indicate a kind of landscape.
Estlund’s longstanding influences are artists and architects such as Buckminster Fuller’s notion of utopia and human possibility, Gordon Matta-Clark’s selection and aestheticized architectural elements, and the chaos and irrationality of Dada. Following these art historical traditions, Estlund presents theories of destruction as a creative force and assemblage as deconstruction that possesses aesthetic value.
Hot Topics Speaker: Dan Cameron
Sat., May. 12, 5-7 pm