Suzanne Cotter has stated that “Guyton’s practice has consistently defied easy categorisation, operating instead from within an accumulation of formal and conceptual slippages.” (Suzanne Cotter, ‘Wade Guyton, Double Negative,’ Parkett 83, 2008, p. 90). Sculptures are a relative rarity within Guyton’s oeuvre to date: Untitled is one of the most ambitious three-dimensional pieces ever made by the artist, marking a return to his earliest forms of creative experimentation. For his thesis show at Hunter in 1998, Guyton installed a large parquet covered box against the entrance of the gallery, causing a corresponding re-alignment of the adjacent space due to the blocking and re-routing of the regular entrance. The result of these early sculptural experiments was the alteration of the traditional spatial plane, “Guyton’s discrete objects distorted their surroundings (and one another) through a treatment of surface and volume riven by reflection or implied projection.” (Scott Rothkopf, ‘Operating System’ in Exhibition Catalogue, New York, Whitney Museum of American Art, Wade Guyton OS, 2012-2013, p. 13). Untitled can be seen as the apex of Guyton’s sculptural creations, an outstanding work from one of the most consistently inventive artists working today.
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