“Reflecting a world that seems perpetually on the brink of disaster, where threats of global warming and over-population play out as if in slow motion, From the Ruins… gathers artists who mine this limbo state in works that abstract, document, alchemize, or otherwise re-imagine remnants of the built world.
“What appears to be ad hoc, casual, and precarious, is often deceptively calculated, or painstakingly crafted. In this sense, From The Ruins... reframes recent discussions of zombie formalism, long confined to painting, so that aspects of the ‘tentative, unfinished or self-canceling’ (Raphael Rubinstein, Art in America, May 2009) take on new meaning.
“Even more so, the ongoing phenomena of ruin porn is critically engaged here, as many of the artists reveal in the latter’s fetish for decay, a collective sublimation of fear: the need to envision a romantic end, rather than face an uncertain present. The objects and images in From the Ruins... therefore oscillate between states of destruction and construction, peril and becoming, hope and despair, evoking the equivocality of ‘a world that no longer believes in the power of the end’ (Teresa Heffernan, Post-Apocalyptic Culture, 2008).
“Modern equations of the apocalypse with catastrophe are also similarly undermined. Through acts of recuperation that harness the potential of the abject and provisional, the artists suggest instead its origins in revelation and transformation. What emerges are archaeological visions in which the human element is implied, but necessarily absent - as much a specter as the future itself.”
- Jane Ursula Harris