Late October, 2021
(Solo exhibition)
(Solo exhibition)
Location: Late October, 2021, Arsenal Contemporary, Toronto
Icarus I, Narcissus I, and Orpheus I (all 2021), are Miles Greenberg's first body of sculptural work as part of his ongoing Late October series. Developed as an extension of Late October, a live installation which premiered at Galleria Continua, Les Moulins in fall 2020 and restaged at Arsenal Contemporary, Art Toronto in fall 2021, this series marks the artist’s first experiments into formally sculptural work. While different in its mode of display, the romanticism of classical sculpture, the rigour of modern architecture, and the nuanced understanding of how energy flows through a body constitutes the foundation of Greenberg’s sculptural practice much as it does his movement work. Titled after young figures of cautionary tales from Greek mythology who suffer calamity due to human fallibility the sculptures represent an archival method of documenting the artist’s performance practice as much as they are their own investigations into art history and its relationship with entropy.
To achieve his visual desire for the erosion that takes place in sculptures naturally over time, Greenberg hacked the software of the 3D scanner to create glitches in the scans of movements. Much like the chance encounters that occur with live performance, this digital manipulation allows Greenberg to capture moments of disruption in the sculptural making process. Milled from a high-density material that could eventually be molded and cast in bronze as positives, the sculptures are works in progress as part of the evolution of Late October and proposals for future work.
Icarus I, Narcissus I, and Orpheus I (all 2021), are Miles Greenberg's first body of sculptural work as part of his ongoing Late October series. Developed as an extension of Late October, a live installation which premiered at Galleria Continua, Les Moulins in fall 2020 and restaged at Arsenal Contemporary, Art Toronto in fall 2021, this series marks the artist’s first experiments into formally sculptural work. While different in its mode of display, the romanticism of classical sculpture, the rigour of modern architecture, and the nuanced understanding of how energy flows through a body constitutes the foundation of Greenberg’s sculptural practice much as it does his movement work. Titled after young figures of cautionary tales from Greek mythology who suffer calamity due to human fallibility the sculptures represent an archival method of documenting the artist’s performance practice as much as they are their own investigations into art history and its relationship with entropy.
To achieve his visual desire for the erosion that takes place in sculptures naturally over time, Greenberg hacked the software of the 3D scanner to create glitches in the scans of movements. Much like the chance encounters that occur with live performance, this digital manipulation allows Greenberg to capture moments of disruption in the sculptural making process. Milled from a high-density material that could eventually be molded and cast in bronze as positives, the sculptures are works in progress as part of the evolution of Late October and proposals for future work.