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John O'Connor
Schemes Out
15 november - 23
december, 2002
opening, friday 15 november, 7-9pm

false memory 1, 2001
graphite, pastel on paper, 30 x 22 inches
sold

earthquakes and wars, 2002
graphite, colored pencil, gesso on paper
82.5 x 53 inches
sold

ebbinghaus map, 2002
graphite, colored pencil on paper
approx. 73 x 53 inches
sold

scratch, 2002
graphite, colored pencil on paper
75 x 53 inches
sold

head itch, 2002
graphite, colored pencil on paper
approx. 53 x 53 inches
sold

head itch (detail)

obese genes, 2001
mixed media on paper
21" x 30"
sold
press release
Pierogi is pleased to present the first one-person exhibition of John
J. O'Connor. O'Connor's recent work is the result of his immersion in
processes, systems and subjects, both real and invented. He combines seemingly
unrelated and often idiosyncratic systems into more intricate and nuanced
manifestations; the result, quirky and complex drawings on paper rendered
primarily in colored pencil and graphite. Ultimately, his use of such
isomorphisms can convey the complexity and interconnectedness of every
day life, as well as the hierarchical processing of chance experiences.
O'Connor cites antecedents as diverse as John Cage, Rube Goldberg and
Alfred Jensen for his work.
The subject matter of the drawings
in this exhibition includes: memory loss patterns, meteorology and temperature
prediction, chaos theory, random Rubik's Cube pattern mapping, the origin
and progression of Alzheimer's disease, hair loss patterns, studies of
obesity and genetics, and itch theories. O'Connor often uses himself as
a subject, testing his memory, mapping where and when he has an itch,
charting his mood fluctuations relative to environmental temperature change,
etc. To achieve the ends of the drawing he alters and combines numerous
modes of information exchange. According to O'Connor
My drawings, then, are
the graphic representations of these layered systems. I usually begin
with a simple idea, which then evolves with greater complexity. All
the diagrammatic notations remain on the image combined with the fully
realized abstract form. Equally important is my attempt to ultimately
create an autonomous aesthetic image.
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