Nathan Byrne
Equally Empty
In Equally Empty, I transposed the space of a small graphite drawing of a labyrinth into a physical spatial encounter. The viewer is able to immerse themselves sensorially and find solace in space and in spaciousness. By designing an installation which is informed by my research of phenomenology and my research in eastern philosophy and contemplative practice, I was able to interweave insights from both fields into this work. Spatial experience leans toward my readings in phenomenology and phenomenal art, while spaciousness leans toward my meditation practice and immersion in teachings of eastern philosophy, namely Buddhism. The idea of emptiness for me is a non-material event, it is a transformative sense of space and awareness of self. This state of being is attainable when one is grounded in the present, and are empty even for a moment, of that which is outside of the embodied perception of their environment as well as their inner experience.
untitled, 2019. Graphite on found paper. Dimensions: 8” x 6 ½”. The relationship of the proposal drawing and realized space is explored in real time as the viewer encounters the graphite drawing untitled, 2019 by the artist Dean Smith within the exhibition. For this project, Dean Smith’s intricate and contemplative drawing of a labyrinth has been momentarily assigned the role of proposal drawing.
Equally Empty, 2021. Immersive site-specific installation (sound by Emmerich Anklam). Dimensions: 1,024 sq. ft. The title Equally Empty is informed by the idea of finding solace in space and in spaciousness. Emptiness for the artist is a heightened state of awareness allowing one to enter into a space and feel the environment in which they occupy. Equally refers to the belief that we all are innately able to enter into this state of being. In this project, Nathan Byrne transposes a space from a graphite drawing by SF Bay Area-based artist Dean Smith into an immersive spatial encounter. The locus of the viewer’s experience is to cross the threshold of the architectural enclosure at the center of the installation to enter a dimly lit sculptural environment and bathe in ethereal sound (sound composed by Emmerich Anklam, aka Distant Reader). This ‘inner sanctum’ is made to be sensorial and transformative, allowing the perceiver to navigate not only this enigmatic interior, but their own sense of self. A labyrinth surrounds this structure, whose pathways allow their walker to nearly reach the point where they began the passage, before goading them to retrace their steps back to the beginning. The viewer also encounters an artist book on a podium within the installation illuminated by a UV lamp.
Equally Empty, 2021. Immersive site-specific installation (sound by Emmerich Anklam).
Equally Empty, 2021. Immersive site-specific installation (sound by Emmerich Anklam), (Detail of back wall of the inner sanctum).
Equally Empty, 2021. Immersive site-specific installation (sound by Emmerich Anklam).
Equally Empty, 2021. Immersive site-specific installation (sound by Emmerich Anklam), (Detail of left side of the installation).
Making the Right Cut, 2021. Laser cut paper, wood. Dimensions: 4 ¾”x 24 ¾”x 41 ½”. This work is based on an Anarchitecture index card from the archive of Gordon Matta-Clark. Nathan Byrne kept the proportion of the original index card and laser cut multiples in Gordon Matta-Clark’s handwriting (475 sheets of cream Bristol paper stacked in an open face wood frame). This sculpture is a hybrid of Gordon Matta-Clark’s index card practice (a platform for playing with language and mapping out ideas), and his cut drawing work where he would cut into stacked sheets of paper with a router or saw, as both a new way of drawing, and a way to sketch building cuts. (Detail of top view).
MAKING THE RIGHT CUT, 2021. Laser cut paper, wood. Dimensions: 4 ¾”x 24 ¾”x 41 ½”. This work is based on an Anarchitecture index card from the archive of the artist Gordon Matta-Clark.
From the Pencil Zone, 2021. Mirrored glass, graphite crayons. Dimensions:
4”x 4”x 48”. This work is reflecting upon the relationship between language, drawing, and sculpture. The graphite crayon nubs used in this work are remnants of an earlier series of drawings of the writer Robert Walser’s miniature manuscripts, titled Pencil Zone: Drawings of Robert Walser’s Microscripts. While working on this series Nathan kept the short lengths of graphite which were no longer able to be sharpened and became fascinated with them as objects. One day in the studio he placed one of them upon a stack of mirrored glass and discovered the potential for this work as a peculiar union of the language, drawing, and sculpture.
Equally Empty artist book, 2021. Book by Nathan Byrne print design by Makenzie O’Connor, cover illustrations by Sydney Farris and Makenzie O’Connor. The book features The Tunnel an enigmatic prose poem by Dean Smith, and SHORT TERM ETERNITY, which is text by Gordon Matta-Clark that has been transcribed and arranged by Nathan Byrne to become an epic poem. The book is 48 pages and riso printed by Risolve Studio with white ink on Munken Polar Rough. As the book is printed with white ink on white paper it is meant to be read under UV light. For Nathan this artist book and Equally Empty album are platforms for collaboration and vehicles for exploring and sharing spatial experience through language and sound.