K.R.M. Mooney’s work often proposes suggestive and seemingly paradoxical relations: the materiality of sound, a codependency desired by and for singular objects, the unfixed appearance and behaviors of solid metals....
K.R.M. Mooney’s work often proposes suggestive and seemingly paradoxical relations: the materiality of sound, a codependency desired by and for singular objects, the unfixed appearance and behaviors of solid metals. Strike i-iii is produced from the striker of a tenor bell, an instrument that vibrates in its entirety to produce sound. Here, three strikers remain attached to sand casting gates and casts of funnel-like sprues required to make the bronze objects, a pairing that foregrounds a modest but proportionally significant material excess in production. Standing upright alongside the striker, it also serves as an armature with its own role and equal (if literally supportive) integrity within the work, though it further divorces the striker from its resonant function.
Mooney’s use of unsealed, unsanded, unvarnished bronze preserves the unaltered surface results of production while also opening the work to inevitable change over time. Strike i-iii, like other recent works, finds the latent talents of objects or materials, like the ability to make sound, or to have a voice at all, transposed and expanded into contingent material properties, physical interactions with space, and processes of production. The nature of “participation,” in the sense of “speaking” and being heard, is in this case relational and shifting, as much a product of inherent or intended purposes (a bell is supposed to ring) as it is complicated by other materialist entanglements and affinities.
In Practice: Total Disbelief, Sculpture Center, Queens, NY, 2020. The Poet-Engineers, Miguel Abreu, New York, NY, 2021.