Jared Clark’s double-sided composition Bild poses as a painting from its frontal view (visible in the gallery’s window display) but reveals on its reverse a maelstrom of found objects ranging from wood, brick, and styrofoam to kitchen sponges and other household items. As in much of his other work, Jared references a Greenbergian flatness—“the privileged plane of painting”—on one hand, which he then subverts with the work’s playfully chaotic three-dimensional sculptural underbelly.
