Two assemblages created in 2010 by artist Randy Burman. 

Originally exhibited in 2010 as part of the three-person group show, Alternative Realities with Tom Weinkle and Steve Radzi at the 12345 West Dixie Studio & Gallery in Miami.

Artist's Statement

To say these assemblages were spontaneously created would be an understatement. The mysterious process of creation is the closest thing I can think of to magic. In the studio I am surrounded by a mountain of collected objects, some bought, some found. Although my hands and brain play a part in the selection process, I practically just watch them, as they pair themselves together to become a poetic dialogue of combined and juxtaposed and often banal objects. I most often don’t begin with a fixed outcome in mind. Yet, as the various parts join together, they appear to suggest philosophical concepts that are more than the sum of their parts. There is a lot of  trial and error –  I’ll hold up one object next to another, try different arrangements, and at some point, like a bolt of lightning, the “AHA!” moment strikes where I intuitively understand that, “this is it”.  

For all the spontaneity and mixing together of objects, my aesthetic is based on a dominant reductionist theory. If I could reduce the developing concept to a single dot, I would. In fact, if I could eliminate the dot, I’d be even happier. Part of my process is certainly informed by my many years as a graphic designer and particularly my technique in designing logos, where I would start with a group of concepts and distill them down to the most minimalist graphic form to convey a clear message or identity.

From the biography written for the exhibition: “Although the walls of Burman’s tunnel are pasted largely with negative images that question the integrity of human nature, the artist is kind in his approximation of our species. As a cultural critic, Burman is skeptical of progress, yet buoyantly playful. Likewise his assemblage sculptures, though literally dripping with sardonic optimism, mix color fullness, light, and thoughtfulness. Through his wildly varied oeuvre, Burman reveals, perhaps unintentionally, a consequence of the West’s largely secularized [pop] culture – a desperate search for meaning.”

Ivan

2009

12 x 8.5 x 3.5

Wood, shoe brush, spool, rubber, plastic bottle caps, memory chips, and license plate.

Abe

2009

14 × 7.5 × 2.75

Wood, stone, plastic lettering, rubber stamp, tin lid, shoe brush, resin tile, metal wheel, memory chip, cardboard and printed eye.