“Beautiful Minds,” 2009–2018, discarded cigarette packaging on canvas, is the centerpiece of Robert Larson’s solo exhibition of the same title. It resembles, among other things, with its plethora of printers marks dots and underlying grid of interlocking rectangles and squares, an aerial view of a city—an urban topography.
Larson guides us into atomic age facets that articulate a shape shifting 21st Century techno megalopolis that is both sprawling and dense, incalculably complex, yet filled with order. Everything in its atomized space is in implied motion—bonding, replicating, migrating, and coalescing. A multitude of structural elements seem to slide, shift, and jump—horizontally, vertically, and diagonally—weaving numerous intertwined patterns across its expanse. Beautiful Minds is a symbol for the hyper-abundant and variegated, yet paradoxically atmospheric and serene.