Jack Barrett is pleased to present Of the Echoes, a two person presentation by sculptor Erik Nilson and painter Seohyun Oh. 

For Brooklyn-based Nilson, the salvaging and revitalization of debris is fundamental to his sculptural practice. His studio, a dense repository of found objects scoured from both urban and natural landscapes, contains specimens, curiosities, and other raw materials. Nilson sources these objects from interstitial spaces – between roadways and wooded areas, land and water – places where everyday artifacts accumulate.

Nilson’s creative process begins like a pseudo-archeological dig, but the boundary of what is constructed versus natural is blurred. A jagged, unidentifiable metal fragment half-buried in the dirt, or a root weathered into the shape of a fantastical dagger may become central elements of a new, constructed form. In this latest body of work, called “Viscids,” Nilson reinterprets his assemblages of combined objects through mold-making techniques, using varied colors, grits, and transparencies to further disguise his source materials. 

The ‘Viscids’ series draws a parallel between the mold-making process and the geologic phenomenon pseudomorphism, in which one mineral replaces another while maintaining its original crystal shape. This pseudomorph, or “false form,” embodies the transformative energy of the earth’s forces – the pressures of millennia – turning solids into liquids and back to solids, fossilizing lifeforms.

For London-based Seohyun Oh, the world is an ever-evolving entity, where even seemingly static forms pulse with an inherent vitality. Oh’s painted landscapes, far from literal depictions, are abstracted into fluid representations that transcend the conventional, revealing an underlying rhythm of movement and energy. Approaching painting like a cosmic act of ordering, Oh considers the interconnectedness of all life, living and spiritual, building imaginary landscapes that come together in unexpected harmony. 

The variation of line weight and iridescent colors mirror the dynamic tempo of life itself, shifting in intensity and direction throughout Oh’s compositions. Like a song, each mark functions as a note, contributing to the cadence and melody. Through layers of brush strokes, Oh orchestrates a visual symphony where form and motion coexist, and every element vibrates with distinct resonance.