Brian Belott, Swirly Music, Installation view, 2007, photograph AFC
Glitter and cats tend to be materials that work best on the net, but Brian Belott successfully brings this subject matter into the setting of a gallery with a late 60’s early 70’s aesthetic and sound track. Belott’s Swirly Music, at Canada New York, mounts keys from a piano around the main exhibition space, several ascending speakers, and various sparkling cat and landscape paintings. In another room several more cat paintings face twin TVs mounted on a pile of books.
Typically, such exhibitions at least in part rely on the skill of material manipulation, and while there’s obviously some of that going on, the real virtuosity lies in the way the artist’s ability to find forms of representation and expression that so peculiarly match his own raw energy. The whole show feels like a cartoon, virtually every static object suggesting movement of some kind. The value in this, lies not just in an invigorating experience, but in imparting the knowledge that such life and vitality exists in the objects around us.
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