“…their corpses as if incorporated.”
- Gustaf Sobin
Darren Tesar utilizes indiscriminate materials, objects, and practices taken from daily activity to embody heterogeneous cultural acceleration and celebrate the obsolescence therein. Incorporating references to minimalism, memorabilia, and design, he applies a manufactured aesthetic onto vestigial materials. Darren’s presentation is a compilation of presently occupied personal fixations that revolve around the very concept of fixation and how that singularity can actually track, albeit temporarily, moments of spatial orientation.
This paradoxical concept of a focus that does everything but remain self-contained sets forth the conditions for an accelerated attitude toward the reflexivity of a creative act. The binding factor in these unraveling fixations is the recklessness of contingency and its ability to create a type of self-implication by being self-consuming and a self-serving fascination.
Not to be confused with escapism since Darren’s willingness to present is essentially incongruent with the escapist culture he often draws upon. Instead, Darren's method finds its course by rejecting a logic of a generalized equivalence within any presentation by means of its own curiosity about itself; an about itself that it acutely and endlessly supplies itself to ponder. The result becomes a struggle for a continually deferred sense of possibility by an almost hallucinatory sense of illumination brought on by sentimentality.
Visually, the installations comprise of strong fluctuations between natural and artificial materials, pictorial and sculptural display, and hand-made and readymade objects. Encompassing associations with archeology, athletics, sci-fi fantasy, and fandom, Darren’s use of materials often evokes a sense of trace, acting as both symptom and cause of incompleteness. This partial extraction operates both figuratively (in the case of building objects from DIY videogame forums) and literally (purchasing fossilized dinosaur feces for display).
- Gustaf Sobin
Darren Tesar utilizes indiscriminate materials, objects, and practices taken from daily activity to embody heterogeneous cultural acceleration and celebrate the obsolescence therein. Incorporating references to minimalism, memorabilia, and design, he applies a manufactured aesthetic onto vestigial materials. Darren’s presentation is a compilation of presently occupied personal fixations that revolve around the very concept of fixation and how that singularity can actually track, albeit temporarily, moments of spatial orientation.
This paradoxical concept of a focus that does everything but remain self-contained sets forth the conditions for an accelerated attitude toward the reflexivity of a creative act. The binding factor in these unraveling fixations is the recklessness of contingency and its ability to create a type of self-implication by being self-consuming and a self-serving fascination.
Not to be confused with escapism since Darren’s willingness to present is essentially incongruent with the escapist culture he often draws upon. Instead, Darren's method finds its course by rejecting a logic of a generalized equivalence within any presentation by means of its own curiosity about itself; an about itself that it acutely and endlessly supplies itself to ponder. The result becomes a struggle for a continually deferred sense of possibility by an almost hallucinatory sense of illumination brought on by sentimentality.
Visually, the installations comprise of strong fluctuations between natural and artificial materials, pictorial and sculptural display, and hand-made and readymade objects. Encompassing associations with archeology, athletics, sci-fi fantasy, and fandom, Darren’s use of materials often evokes a sense of trace, acting as both symptom and cause of incompleteness. This partial extraction operates both figuratively (in the case of building objects from DIY videogame forums) and literally (purchasing fossilized dinosaur feces for display).
