Commentary

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wm4The raw material of William Knight’s present work are the shreds of blown tires, skeins of black rubber left on roadsides. ¬†What results after a countless iteration of fine judgments—testing thicknesses against contour against over-arching gesture, spacings and conjunctions and negative space considered from all angles of view—is a pure calligraphy of spirit enacted in a real space made vibrant.

The works operate in two ways: mounted off walls as seemingly impromptu, open-form reliefs, using the white wall as a visual foil—a kind of haiku of line, space and gesture, cursivally alive and adventurous within the shallow volume of space that the piece itself defines; or, delicately suspended from ceiling height. ¬†These turn subtly with air currents, and, changing constantly as one moves 360 degrees around them, remarkably hold a tautness and rightness of expression from manifold vantage points.

James Dinerstein, sculptor