- Michael Davis
- 3 February 2012
Overarching sense of the mutability of physical objects
Alex Dordoy’s new body of work mixes the digital and the analogue, the abstract and the real, in a search for new means of perception. Three bright and eye-catching panoramic canvases – meticulously painted reproductions of digitally abstracted figures and landscapes – bring the visitor into the space. The strange merging of shapes through geometric vectors and patterns is continued on the gallery floor with a series of fragile and beautiful plaster-cast prints of unfolded paper aeroplanes on machined polycarbonate plinths. These sculptures, entitled ‘Folded Unfolded, Sunk and Scanned’, which are created through a method of contact printing that allows the plaster to absorb both the fine lines of toner, and the folded forms of its original, are the highlight of the show. On the far wall, blurred figures painted on rough plaster casts gradually break away into a final work, gradated car tire prints that fade down from the glass roof.
There’s an overarching sense of the mutability of physical objects here. Dordoy’s work appears on the boundaries of disciplines, but finds a fractal-like beauty in the miniscule detail of forms.
The Modern Institute, Glasgow, until Wed 22 Feb