The user of these strange shapes and shelters becomes aware of a multiplicity of potential functions and experiences contained within the structure that goes far beyond the depths of the image/thing’s surface. In this sense, the mutual interdependence of both architecture/object and the human body/object establish an actual intimacy by not privileging ease of use, but rather the action of use.
Place memory gently skews and warps the perspective allowing interpretation to permeate the lived landscapes of both Yoakum and Nickodemus. Yoakum described his work as a “spiritual unfoldment.” Much like how a map expands or contracts, memory unfolds primary experience onto the landscape in unpredictable and idiosyncratic ways.
The doodled flower and genitals aren’t seductive for their subtlety or extension, but for their presence and play around the borders of something else. Hence the initial wink of familiarity in John Schacht’s works on view at Iceberg Projects: not the slow dawning awareness of a form’s luridness but the flashed recognition of, if not this rose or this cock, certainly this type of blossom.