{"id":39857,"date":"2016-10-26T14:36:46","date_gmt":"2016-10-26T12:36:46","guid":{"rendered":"https:\/\/www.sleek-mag.com\/?p=39857"},"modified":"2016-10-26T14:36:46","modified_gmt":"2016-10-26T12:36:46","slug":"daniel-wickerham-malcolm-lomax","status":"publish","type":"post","link":"https:\/\/www.sleek-mag.com\/de\/article\/daniel-wickerham-malcolm-lomax\/","title":{"rendered":"Das K\u00fcnstlerduo untersucht den Sozialkubismus, die Forensik und den Sinn f\u00fcr den Ort"},"content":{"rendered":"

 
\n\"Local
\n 
\nDaniel Wickerham and Malcolm Lomax, the creatives\u00a0behind Baltimore-based artist duo Wickerham & Lomax, began their collaborative relationship in 2009 while attending Maryland Institute College of Art. The team’s work spans across various media and contexts, predominantly investigating networked virtual\u00a0spaces, accessibility and codified language. For their current exhibition, entitled “Local Atonement: A Nutshell Study of Unexplained Death” at American Medium gallery in Brooklyn, Wickerham & Lomax continue to tackle the key themes that structure their exhibitions through a speculative, condensed body of paintings and HD animation.\u00a0We\u00a0met with the eponymous Malcolm Lomax and Daniel Wickerham in Baltimore to discuss why proximity to crime is interesting, our networked culture as a form of contagion and police shooting of unarmed citizens.
\n 
\n\"Local
\n 
\nYour show, “Local Atonement: A Nutshell Study of Unexplained Death”, is a reiteration of many of the key themes that framed the Artist Space show “DUOX4Larkin”. Tell us about what some of these themes are and why they continue to hold importance.
\n<\/strong>Malcolm: Daniel and I have arrived at a point where we are tracing our steps, consciously noticing some of the overarching themes that keep the work slipping into various other fields \u2013 a lot of the themes have to do with narrative and biology. In the Artist Space show “DUOX4Larkin”, it was important for us to focus a lot of that attention on a protagonist, a single catalyst for carrying ideas. But in “Local Atonement”, the idea was about articulating space as a protagonist through images \u2013 something similar to a comic strip or set design, but done through a conventionally fine arts lens.
\nDaniel:\u00a0The metaphor of a fashion house, which we presented in “DUOX4Larkin”, was used in both shows. Specifically, using the idea of a label\u2019s DNA as a way to think about our collaborative language. The idea of a fashion brand’s DNA returns in our new show, too. Digital paintings are set in a flooded antique store, with shelves displaying reworked motifs from the practice. By imagining an artist would need to take over the collaboration, the paintings can function as a blueprint of the fashion house\u2019s DNA.
\n <\/p>\n

“Crime has been a big part of our work” \u2013 Daniel Wickerham
\n <\/p><\/blockquote>\n

In the press release for the show, you mention that the characters in your web-based narrative “BOY\u2019Dega: Edited4Syndication” serve as storage units for data. Given that the exhibition deals with renderings of death and\u00a0personalisation, are you framing both concepts as containers for blueprints?
\n<\/strong>Malcolm: I think they could be seen in a similar way. The title for this exhibition comes from a really distinct place, referencing dioramas constructed to teach forensic scientist about crime scenes. Some of our fascinations have to do with avoiding dominant truths and tackling some of the supplemental and peripheral means of articulating an experience. I think with the characters in their initial iterations they were supplemental for the actual actors, in that we used their lives as starting points.
\nDaniel:\u00a0The second part of the title, \u201cA Nutshell Study of Unexplained Death,\u201d was lifted from a book written by Frances Glessner Lee, who taught forensic scientists how to look at crime scenes. She built crime dioramas and established a working method on how to see that is still in use today. Crime has been a big part of our work and proximity to crime is interesting \u2013 in particular, the eye witness on the street. When multiple people see the same crime, you get many subjective realities that beautifully personalise the truth \u2013 this is known as social cubism. This is valuable because multiple voices are more valuable than one, and I think that shows in the\u00a0work.
\n 
\n\"Local
\n <\/p>\n

“Networked culture today, ironically, seems more like isolated expression and self presentation” \u2013 Daniel Wickerham<\/p><\/blockquote>\n

 
\n3D-printed figurines of your heads, respectively, are incorporated into the works on view. Is there a pertinent reason why you chose to include these figurines?
\n<\/strong>Malcolm:\u00a0We wanted a contemporary means to present authorship. The heads were incorporated to acknowledge the trope of the artist\u2019s signature on paintings.
\nI wonder if this at all extends to the tar and feathered frame.
\n<\/strong>Malcolm:\u00a0The frames come from previous sculpture work that was rather quickly made and terrible but we loved the effect. It’s the first time it\u2019s come back since rather early in the practice.
\nYou reference Patricia Storace\u2019s “The Shock of the Little”, wherein she talks about scale, proportion and material alterations of environment as \u201cone of the fundamental physical dramas of childhood.\u201d How does this understanding of phenomena relate to the works on view?
\n<\/strong>Daniel:\u00a0The sense of control that comes with building and arranging a dollhouse had parallels to the world building aspects of the BOY\u2019Dega website. In Storace\u2019s writing it is suggested that mastery has failure built in: \u201cno one can realize the ultimate fantasy a dollhouse awakens.\u201d Those worlds behind the shelves of the antique shop are another fiction, which are television sets in various stages of construction. If the paintings contain a blueprint to the collaborative language and are in fact this linked to dollhouses, what an interesting position this places on the work; suggesting access is limited or even purposefully withheld, forever holding a viewer in limbo between fictions.
\nNetworked virtualities and contagion also play a thematic role in your practice. Do you consider our networked culture as a form of contagion?
\n<\/strong>Daniel:\u00a0Yes, and it deserves the word contagion \u2013 if you prefer the definition of contagion as being the harmful or undesirable contact or influence. I would say we have new machines that allows us to share and stay connected, but what we are spreading isn\u2019t ideas so much as emotions. Networked culture today, ironically, seems more like isolated expression and self presentation. We all know the codes of how to network, but it\u2019s a kind of inert field in terms of invention.
\n <\/p>\n

“Since we began working together, we\u2019ve had to develop not only a group language but also a group way of thinking” \u2013 Daniel Wickerham<\/p><\/blockquote>\n

 
\n\"Local
\n 
\nI\u2019m curious as to how your formulation of the workplace as an articulation of one\u2019s identity structures your working relationship, especially as a collaborative duo.<\/strong> \nDaniel:\u00a0We often work with locations in a way that the hierarchy and codes of conduct are considered and then recoded.The studio mutates to the demands of the project being worked on, at times turning itself into an animation studio, a computer lab or a wood shop.\u00a0More than workplace, place is simply something we often consider. Since we began working together, we\u2019ve had to develop not only a group language but also a group way of thinking, where two voices could speak equally, merge often and even be distinct at times in order to function.
\n <\/p>\n

“Knowing the parameters of a place in regard to fiction and nonfiction creates this other weird layer of viewing” \u2013 Malcolm Lomax<\/p><\/blockquote>\n

 
\nIn the description of the show you mention the “idea of location as character” and how it can at times lead its occupants to escape. What do you mean by this?
\n<\/strong>Malcolm: I remember we were watching the Netflix original series “Easy” and became\u00a0curious about the setting. After rounds of suggestions, we summed it up: nondescript, medium size city. But my frustration stemmed from one specific location that\u00a0the production team shot. It felt overwhelmingly detailed\u00a0and they kept showing multiple shots of the exterior, so I had an urge to know. Knowing the parameters of a place in regard to fiction and nonfiction creates this other weird layer of viewing – this complicated negotiation if it’s at all really like that.
\nDo you feel this way about Baltimore, particularly in wake of high-profile police shooting of unarmed citizens?
\n<\/strong>Malcolm:\u00a0I\u2019m reminded of this real moment I was having with myself regarding all the happenings taking place in Baltimore. It reminded me of the need for one\u2019s home to give credence to safety. It made me consider the emotional trauma of my past and in my childhood home and not knowing how to correctly provide love and or safety in such as space. I\u2019m constantly trying to syphon the emotional abuse from those affirmations into an\u00a0open imaginative existence.
\n 
\n\"Local
\n 
\nIf neither of you were making art, what would you ideally focus your creative energies on?
\n<\/strong>Malcolm:\u00a0For me it would be cooking. I don’t think I’d fully become a chef, though \u2013 just a hobbyist. Or, a facilitator of some sort \u2013 making things happen for other people. I think the real goal is to de-professionalise my creative energies and have them for myself in order to share them at will.
\nDaniel:\u00a0Making art has always been at the mercy of our creative energies. We\u2019ve made the practice porous enough to adjust to our changing interest, but I don\u2019t think that is uncommon among artists today.\u00a0 I like to think about\u00a0how those energies can be of imaginative quality and less about it being right for the field.
\nWhat are you working on next?<\/strong> \nMalcolm:\u00a0We are working towards a film. The script is written. Through the winter it will probably go through a couple drafts. It’s gonna be interesting to work with actors.
\nIs this going to be the one that pulls together the elaborate series of exhibitions, or something different?
\n<\/strong>Malcolm:\u00a0It extends this trilogy that we\u2019ve been attempting to work on. It\u2019s the second instalment, and we’re currently calling it “The Opposable Thumbs Monologues”. But I think Dan and I are gonna change a few things about it.
\n 
\n\"Local
\n 
\n\"Local
\n 
\n\u201cLocal Atonement: A Nutshell Study of Unexplained Death<\/a>” by Wickerham & Lomax is currently on view at Brooklyn’s American Medium gallery until 31 October 2016<\/strong> \n 
\nAll images courtesy of\u00a0duoxduox.com<\/a><\/p>","protected":false},"excerpt":{"rendered":"

Wickerham & Lomax are the artist-duo inspired by crime and forensics<\/p>","protected":false},"author":68,"featured_media":39865,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[11856,139],"tags":[1217,6480,38,6481,6482,1072,6483,6484,6485,6486],"class_list":["post-39857","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sleek-art","category-art","tag-america","tag-american-medium","tag-art","tag-baltimore","tag-crime","tag-exhibition","tag-forensics","tag-frances-glessner-lee","tag-usa","tag-wickerham-lomax"],"acf":{"main_category":null,"legacy":"1","exclude_from_ads":null,"hero_title":null,"subtitle":null,"hero":null,"teasers":null,"facebook_image":null,"related_articles":null,"next_article":null,"sleek_card_focus":null,"content":null},"yoast_head":"\nThe Artist Duo Examining Social Cubism, Forensics and a Sense of Place The Artist Duo Examining Social Cubism, Forensics and a Sense of Place<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sleek-mag.com\/de\/article\/daniel-wickerham-malcolm-lomax\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Artist Duo Examining Social Cubism, Forensics and a Sense of Place The Artist Duo Examining Social Cubism, Forensics and a Sense of Place\" \/>\n<meta property=\"og:description\" content=\"Wickerham & Lomax are the artist-duo inspired by crime and forensics\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sleek-mag.com\/de\/article\/daniel-wickerham-malcolm-lomax\/\" \/>\n<meta property=\"og:site_name\" content=\"Sleek Magazine\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/sleekmag\/\" \/>\n<meta property=\"article:published_time\" content=\"2016-10-26T12:36:46+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@sleekmag\" \/>\n<meta name=\"twitter:site\" content=\"@sleekmag\" \/>\n<meta name=\"twitter:label1\" content=\"Verfasst von\" \/>\n\t<meta name=\"twitter:data1\" content=\"Mark Pieterson\" \/>\n\t<meta name=\"twitter:label2\" content=\"Gesch\u00e4tzte Lesezeit\" \/>\n\t<meta name=\"twitter:data2\" content=\"8\u00a0Minuten\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.sleek-mag.com\/#website\",\"url\":\"https:\/\/www.sleek-mag.com\/\",\"name\":\"Sleek Magazine\",\"description\":\"Sleek is Germany\u2019s leading independent media house\/brand for creativity and innovation located in Berlin the creative capital of the world. 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