August 7, 2011 § Leave a comment
A student of the film, Horton has been engaged in an ongoing process of reconstructing it. In each of the works 200 diptychs, a still from the movie is mirrored by its hand fabricated facsimile. For each one, the artist begins by making compositions that break down the volumes of light and shadow in the Kubrick original. Working with objects close to hand in his apartment, the wit of the enterprise comes with his choices of substitutions: a fork for an airplane fuselage, a tight close-up on a scoop of vanilla ice cream for clouds, a plastic bag for the sky. The net effect splits the difference between Horton’s artistic ingenuity and his humbling of the British filmmaker’s cinematic artistry into a mere series of constructions. Pursuing this line of enquiry helps to place Horton’s work within a larger trend that sees artists using the hand-made as a way to puncture the spell of illusionism. Considering that much of contemporary life is undergoing a process of fusion with the virtual world, it is a reassuring development, one that proves art’s relevance as a corrective to tendencies in the wider culture.
By Rosemary Heather