Mark As Utility explores mark-making as utilitarian, schematic, and functional. The works in this exhibition do not use marks to describe existing forms, but instead these marks become self-contained objects. Like evolutionary processes, the forms and structures that develop are the result of a period of interaction with their environment and are capable of asserting their own traits, rationale, and logic.
Caleb Coppock's drawings merge mark with electronic component: heavy graphite marks are connected to alligator clipped wires, which are in turn connected to small circuits that generate clicks and pulses as electricity literally flows through the drawn surface. The marks not only act as totemic abstraction, their length changes the sonic characterics emitted as well. Jamie Powell's small abstract paintings have logic built through years of exploration of the subtle interactions of color and shape. While not normally thought of as functional, abstraction like Powell's engages forms that have over time developed the same needs and constraints as a tool or piece of furniture. Matthew Sontheimer's intricate pen and pencil drawings are built from an obsessive internal logic, conflating the handwriting of his father with manufactured letterforms and found contours. Through these pieces, Sonnheimer unpacks the relationships between the written word, internal dialog, and the idea of a meaningful form.