Canadian Art - - Generously Supported By Rbc -

What ap­pears to be a space-age rainwater-col­lec­tion sys­tem out­side of Daw­son City, Yukon, is ac­tu­ally a pro­to­type for a low-tech ar­ti­fact-con­ser­va­tion unit. In 2015, Colin Lyons cre­ated Time Ma­chine for Aban­doned Fu­tures, an in­ef­fi­cient off-grid lab with a bat­tery pow­ered by etch­ing acid, de­signed to clean in­dus­trial ob­jects scav­enged in an area that wit­nessed decades of dredg­ing. Lyons was born in the rust belt of Wind­sor, On­tario, and he high­lights the im­per­ma­nence of in­dus­try by cre­at­ing anti-mon­u­ments to the ru­ins of North Amer­ica’s man­u­fac­tur­ing past. In 2013, his ki­netic sculp­ture The Con­ser­va­tor was in­stalled in the Soap Fac­tory, a for­mer ware­house com­plex re­claimed for the arts in Min­neapo­lis, Min­nesota. Lyons’s ma­chine pol­ished a rusted I-beam in the gallery. The work points to so­ci­ety’s at­tempts to san­i­tize in­dus­trial her­itage sites for ur­ban re­newal, and the artist’s chem­i­cal ex­per­i­ments ref­er­ence his train­ing as a print­maker. He takes etch­ing chem­i­cals be­yond their tra­di­tional bound­aries and ac­knowl­edges the role of print­mak­ing in heavy-duty art pro­duc­tion. Colin Lyons Time Ma­chine for Aban­doned Fu­tures 2015 Gold rush ar­ti­facts, Plex­i­glas, alu­minum, cop­per sul­phate, soda ash, cop­per plates, zinc plates and wire 2.74 x 4.27 x 2.44 m

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