Noah Grussgott: What Goes Around Comes Around

Seattle artist Noah Grussgott is playing with two very different sets of signifiers in his mixed-media installation “What Goes Around Comes Around” (through Dec. 31). In one room, a cluster of big wooden X-shaped sculptures resemble the World War II tank traps set on the beaches of Normandy. Nearby, a cheap plastic Fisher-Price playpen has been sheathed in concrete. On a wall, almost unnoticed, is a framed series of the same soft-pencil inscription, “I’m sorry,” pleading over and over and over again. On the floor, a mannequin arm pointing accusingly upward (at God?) from a blob of concrete. In Hebrew, I’m told, the artist’s grandmother’s name is embossed into an overstuffed valise, also made of concrete. Somebody’s all packed to leave, but who could lift such a burden? So—is that immovable weight the Holocaust, Jewish guilt, Long Island (from where Grussgott originally hails), parental expectation, a mother’s nagging that her son isn’t yet married (or a doctor, or a lawyer)…or all of the above? Regardless of his intention, we’d like to see more objects rendered in concrete. If you can bronze your baby’s shoes, why not also commemorate your teenager’s rejection letter from Harvard? It should weigh about a ton. Gallery4Culture, 101 Prefontaine Pl. S., 296-8674, Free. 9 a.m. to 5 p.m. BRIAN MILLER

Mondays-Fridays. Starts: Dec. 4. Continues through Dec. 31, 2008

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