12.5.2020 - 1.15.2021
Cudelice Brazelton IV, Lord, 2020
inkjet print, steel
Cudelice Brazelton IV, Incomplete Burglar, 2020
aluminum, electrical tape, paper, acrylic, thread, steel, synthetic leather, screws, nails
Dozie Kanu, raspberry data chamber worthy with chest (type seat), 2020
raspberry pi, video, steel wire, found toddler chair frame, found iron, torso armour
Dozie Kanu, Chair [ xv ], 2020
automatic bottle filling machine, bulldozer tooth, steel, melted lead, powder coat with sgraffito, and sandblast
Cudelice Brazelton IV, Stream, 2020
acrylic, leather, steel, paper, inkjet print on canvas
Dozie Kanu, Untitled, 2020
diptych c-type print, framed
International Waters is pleased to present Recoil, an exhibition of new works by Cudelice Brazelton IV and Dozie Kanu.
The object is reanimated, repeating its movements like a drum. Its volume binds it to the sloping floor. An unforseen utility arises from the work of both artists. Objects cycle through modes of deconstruction and reconstruction in collage and sculpture, emphasising the chassis as a starting point.
Powdered technics are recombined with paper and leather. An iron torso clad in armor observes the room, separated from the flaking red panel incised with fresh wounds. Works are defined by their form; the individual pieces like shrapnel have been repositioned as an organized system of physical relations.
The image of static moves across the wall, modifying the architecture. Stripped electrical tape acts as a gloss railing. Hardware and images travel along its path. Cut with swift files.
Sculptures are anchored to the ground; a repetition of placement. But this oblique platform is designed to accomodate these lasting relations. Histories of lost utility are apparent, but not revealed — their identity travels with the objects like ghosts; filling the room with a certain Hauntology. Repurposed weights inclined for activation.
Brunt force and audible voices usually collide. Always heading toward one another with volume. Once repeated, the volume grows.