Stephen G. Rhodes

Selected works by Stephen G. Rhodes

Stephen G. Rhodes
Hosergeisten (Black 1)

2007

Rubber

Stephen G. Rhodes sculptures operate as individual artworks in themselves, though are often created as part of a larger narrative project or solo exhibition. In these exhibitions, his works create a dialogue with each other, bringing together various aspects of a story or theme. Made in conjunction with his Recurrency project, Hosergeisten Black 1 symbolically references both rope and water. Constructed from a simple garden hose Rhodes’s Hosergeisten Black 1 arches in free standing elegance, creating an articulate gesture defiant in its suggestion of motion and resistance of gravity.

Stephen G. Rhodes
Gallows Resistancy Recurrency

2007

Rope, metal, wood, green screen and photographic elements

Dimensions

Stephen G. Rhodes Recurrency project was based on a film shown as part of his grade school curriculum. Based on a story by Ambrose Bierce, An Occurrence At Owl Creek (1962) chronicles the escape of a prisoner in the last moment before hanging; just as he returns to his home and wife, the film cuts to his death on the gallows – the story of the escape being the man’s final fantasy. Rhodes’s Recurrency consists of video, sculpture, installation, and drawing; Gallows Resistancy Recurrency is one of the primary pieces of this body of work.
Gallows Resistancy Recurrency embodies sensations of temporary reprieve. Taking the form of a makeshift execution platform, the impoverished based is smashed through with perfunctory violence, and paint is peeled away to reveal photographic elements, suggestive of both media and memory. The rope swoops forth, frozen in a line of both flight and pursuit; its empty noose is spot lit offering a divine hope in the promise of escape.

Stephen G. Rhodes
Dualism #2

2006

Digital C-Print

51.4 x 33.7 cm

Printed in the size of public sector posters, Stephen G. Rhodes’s photographs wittily rewrite history, presenting images of fictional text book covers, each proffering a subversive title and his own claim of authorship. Making reference to the post-colonial American lore, Rhodes humorously explores the malleability of historical fact and national identity, drawing connotations to and critique of contemporary myth-making, manifest destiny and cultural production.

Stephen G. Rhodes
Recurrency (Book Cover)

2006

Digital C-print

51.4 x 33.7 cm
Stephen G. Rhodes
The War of 1813 Did Not Take Place

2006

Digital C-print

51.4 x 33.7 cm
Stephen G. Rhodes
Thoughts Freeze Like Eggs Ripen from 8 to 10 days; Shorter or Longer and the Room is Disgusting

2005

Digital C-print

51.4 x 33.7 cm
Stephen G. Rhodes
Vacant Portraits

2007

Oil and acrylic on canvas

96.5 x 76.2 cm each

Themes of memory, trauma, and historical unconscious are recurrent throughout Stephen G. Rhodes’s work. Rhodes’s Vacant Portraits use as their reference point historical portrait paintings in which the sitter is depicted in front of an abstract background. By removing the image of the sitter, Rhodes’s paintings record only a lingering atmosphere of spectral presence, negating the past and suggesting a haunted present. The small photographs placed in the corners are of abandoned sites in New Orleans after Hurricane Katrina, the barren rooms and anonymous detritus redoubling the vacant aura.


ARCHIVE: PAST WORKS

Stephen G. Rhodes
Ssspecific Object

2006

Rubber

122 x 213.4 x 122 cm

Through his sculptures and installations Stephen G. Rhodes engages with both art historical and American mythology to approach narrative through making. In Ssspecific Object, Rhodes
comically merges these two interests with the suggestion of a minimalist cube devoured by a giant snake; its title referring to Donald Judd’s critical writings and its awkward horizontal composition reinforcing its creepy otherness. Made from rubber and stretched to capacity, Rhodes’s serpent poses as a discriminate consumer: a viper critic devouring the bulk feast of modernism.


Other Resources

artfacts.net
Additional information on Stephen G. Rhodes

overduinandkite.com
Representing gallery, information on forthcoming shows

guildgreyshkul.com
Additional images and information on Stephen G. Rhodes

foxyproduction.com
Stephen G. Rhodes presents “Cartesian Omelette Catcher: after Beckett” (2005), an open modular structure that acts as a darkly comic “dreamcatcher”, the device the Chippewa people use to catch nightmares. In Rhodes’ work, a rubber chicken, frying pan and eggs are caught within a charred LeWitt-like grid; the traces of a disturbing dream are contained within a Modernist construct. By placing what could be props from an absurdist drama within a degraded Minimalist sculpture, the work wittily highlights Modernism’s struggle with representation.