Greg Stimac uses Black and French walnut rifle stock seconds as bodily surrogates in his assemblages. The wooden sculptures, colored deep hues with raw pigments or covered with truck bed liner paint, recall provocative, abstracted figuration—Brancusi comes to mind—but the materials—the irregular butt ends of killing machines—imbue the work with a dissonant subtext. The fact that gun production has reached such exacting standards as to reject these beautiful forms as unsuitable for attachment to firearms alludes to the fetishization of deadly weapons by opponents of gun control. This is compounded by the forms themselves which generate both an attraction and a tension via their positioning: as close as can be without touching, despite each component’s distinct, flowing, rolling, modulating curves. Circling these works, it’s a challenge not to perceive figures in a dance, a tango, yet the individual elements never physically connect. In the end, the work can be seen as a reflection on a world whose subjects are routinely connected over distances both in death and love, by a bullet from a gun or a right swipe in Tinder.
Signature: Signed on the base of the sculpture
Shoulders of Champagne
December 19, 2015–January 17, 2016
Lord Ludd Gallery, Philadelphia