AFTERLIFE

For his solo exhibition in the courtyard titled Afterlife, Hacmon uses architecture as a mediator and is interested in notions of the non-place: spaces without history or identity.
The installation consists of three devices concealed by 4x4 inch white industrial tiles.
Two of these forms are sealed with transparent glass and tilt towards the ground at a
steep angle. The third sculpture, called Program 1, is equipped with 16 grab bars
suggesting safety and security. Hacmon’s work does not harbor the efficiency usually
found in architecture and object design. Instead, focusing on techniques and elements
from both the old and the modern, he tries to create the “super-modern”, changing
agreed upon ideas of necessity, functionality, and memory.

Hacmon’s forms react to the architectural surroundings of the courtyard. He works off of
the urban grid and contrasts the setting with clean institutional shapes that challenge our
understanding of form and sculpture. Adding to this disassociation Hacmon introduces
translucent layers of color that give a false sense of depth and the notion of another
dimension within the form. Making use of the primary colors Hacmon harps back at the
core of form and function and re-interprets its perceived solidity.