Rose Marcus

    • Wits End

      | : In framing, we use museum glass, which is characterized by its ability to reflect less than one percent of incoming light (certainty?). It is practically, which is to say usefully and purposefully, non-reflective. Reflection is bad, because it disrupts the image of a subject by exposing us to the circumstances that surround it, either in support or in threat. A scene is pressed onto a subject-cum-screen and then everything gets confusing.

      0 : Two sides of a coin, when multiplied, teetering on the verge of... 1 becoming 3 (with an intention of missing). Or. 2 approached one small face, unfolding to a great assembly, a re-set axis. We, form, becoming multi-form, multi-fashioned to pivot the flipping routine.


      | : When people reflect, they think holistically and from a critical distance, as if from behind glass, which is good, but not necessarily productive, unless they've been asked to produce something impossible. This is not a this, or that etc? a surface to which subjectivity can not cling or does all too blatantly, like mirrors. Mirrors are dumb. Mirrors lie. Dumb lies can help. In (critical) theory, a goldfish might understand its bowl, and that it could never survive in the ocean. In a show of great strength, the hungry man eats his drinking glass, and then choking on the tiny shards, begs for a drink of water.

      0 : We easily share the four quarters of the revolving door. In fact with us, there is still half, which we divide easily. I claim the slice here in front of me,.. I can only assume that the worker (the ready visual and the slipping over the skin of a person glimpsed only through their occupational function) has done the same. In which case there is no discrepancy to encumber our union in this same orbit, a communal adjacency to this space here in front of us which we are both walking into but only pushing against.

      London / New York / Paris / Toyko / Dubai / Hong Kong / Shanghai

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Refuge (Incense 2012), 2012, protective plastic sheeting 48 x 96 inches / dimensions variable
On Left: Wits. On Right: End. 2012, books published by Rose Marc
Wits, 2012, book published by Rose Marcus placed on pedestal-stool, 12 x 12 inches / dimensions variable PDF version
End, 2012, book published by Rose Marcus placed on pedestal-stool, 12 x 12 inches / dimensions variable PDF version
Rose Marcus
Souvenir, (binoculars, rain, salonnieres), 2012 framed poster, 36 x 24 inches / dimension variable. Edition of 4.
Rose Marcus
Woman (women), 2012 adhesive vinyl print 48 x 72 inches. One of a kind
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7 & 8 (response to leaning rods or commitments), 2012 Reidel glass set with packaging, hot glue 24 x 12 inches / dimensions variable.
Rose Marcus
J/K (vessels not tricks), 2012. 12 x 12 x 12 inch glass fish bowl, 8 x 8 x 8 inch glass fishbowl, 3 for gold fish, air pump, 18th century Chinese coins, pH controlled tap water, placed on pedestal-stool. Dimensions variable.
Rose Marcus
Untitled (boat), 2012 framed poster 36 x 24 inches / dimension variable, Edition of 4
Rose Marcus
P.C. (Sapphire Lounge), 2012 A.P.C. shopping bag, motorcycle jacket with plastic hanger, 36 x 24 inches / dimensions variable
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