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Pantheon, 2021

Aluminum I-beams, steel, hardware, chain, neon, speakers, MP3 audio playback, printed signage on aluminum, fiberglass seating 
8’ x 9’ x 12’
Audio: 60:00 

Pantheon, a structure of aluminum I-beams is a signification for industrial civilization. Its scale mimics the size of a room in an apartment or house, but also like a small building. Long lengths of industrial chain are suspended, hang down from hooks, and crisscross from the upper horizontal beams. Attached to the upper perimeter of the beams and on the four vertical posts are a series of aluminum signs creating a profusion of display. This work is addressing capitalism through advertising, consumerism, and how human relations and social structures are mediated through signs and objects. Like a chain that connects and offer paths, they can seduce the viewer and link together a network of objects and signs. Viewers may sit on the lower beams where seating is provided in four places. With this gesture, the audience becomes socialized within the structure of the work and is framed by Pantheon as a stage. 

Mounted under the top perimeter are straight lengths of white neon. These illuminate the space, seating, and participants underneath and contribute to the marketplace status, social behavior, and collective experience of the work. Two small speakers are mounted to the top beams that emit a composed soundtrack compiled from field recordings, music, and spoken word. Pantheon explores how advertising codes are transferred to the consumer. The 25 signs present 50 generalized corporate logos. These abstracted logos have been simplified into modernists tropes, where their specific identity has been removed reducing them to a morphology of color and code, mimicking the corporate landscape we inhabit. This code is a form of socialization and generates a formal set of social relations analogous to money. The collected logos represent a selection from banks, credit cards, oil and gas, fast food, fashion, media, entertainment, auto industries, and the military. This myriad of advertising images stages a realm of signs, where the individual consumer is distinguished by the random selection of objects in the domain of consumption. All these relations form a system in the industrial framework of the political economy, where the individual is alienated by signs and social relations are fetishized. 

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