Andrew Cannon, Installation view, PAGE (NYC), 2019

Andrew Cannon, Installation view, PAGE (NYC), 2019

Andrew Cannon, Installation view, PAGE (NYC), 2019

Andrew Cannon, Installation view, PAGE (NYC), 2019

Andrew Cannon, Installation view, PAGE (NYC), 2019

Andrew Cannon, Installation view, PAGE (NYC), 2019

Andrew Cannon, Installation view, PAGE (NYC), 2019

Andrew Cannon, Pink Slipper, 2018, Watercolor, pigment, acrylic, aqua resin, urethane resin, urethane foam, epoxy resin, epoxy putty, aluminum, wood, 51.5 x 40.5 inches

Andrew Cannon, Bethesda Platter, 2018, Watercolor, pigment, acrylic, aqua resin, urethane foam, epoxy putty, 55 x 40 inches

Andrew Cannon, Orchid Jetsam I, 2018, Watercolor, pigment, acrylic, graphite, aqua resin, urethane foam, epoxy resin, epoxy putty, aluminum, 13 x 12 inches

Andrew Cannon, Orchid Jetsam II, 2018, Watercolor, pigment, acrylic, graphite, aqua resin, urethane foam, epoxy resin, epoxy putty, aluminum, 13 x 11 inches

Andrew Cannon, Morel Sign, 2018, Watercolor, pigment, acrylic, aqua resin, urethane resin, urethane foam, epoxy resin, epoxy putty, aluminum, 22.5 x 15 inches

Andrew Cannon / Pam Koch, Flower Arrangement, 2019, Witch hazel, bean sprouts, watercolor, epoxy putty, 33 x 17 x 4 inches

ANDREW CANNON

February 23 – March 24, 2019

the daily occurrence—turned to procedural sense-making—as lace tatted into pattern—as gothic tracery—as abex painting—of thicket pending conditions—of jawless fish lovingly vertebrate—we note these episodes in concentration—inconsistent human relationships—as brachial—1000s of photos stored on an iphone—bound not to time but timing—or current—knobby starfish—sea slug—dead purple crab—on the shorter end of the beach—on a large rock outpost—mass covering of mollusks barnacles & sandflies—picked at by gulls—we’re aligned with them enough we could be ashamed—there at low tide—as averse perverse & teeming—nature continues to deliver its direct material—in form & feeling—we had an extended conversation re: decisions people make—aesthetic & incriminating—California or New York—the eventual territories between affects/effects etc—clearly lineated—the bulk of our time each rallying a bunch of marks/labor—into unfamiliar background noise—reorganizing our own botanical lives in the city—our attachment to objecthood—forced to hang with the slower fidgety stuff—over the last year thinking not quite thoughts—into these bits & pieces of flowers & trees—leaves vegetables mushrooms—foam & resin casts of things—carved flowers—carnations—spiky stem from angelica—sycamore leaf buds—no ends as of yet just yet—speech inflated into things—disconnected from itself—except as engine—but to say it more accurately—the photos could be taken—from the front entrance—looking in—with the flowers in focus—out of the ground they knew & fed from—

—Jae Yeun Choi