Parent Company is pleased to announce a solo exhibition by Bryce Kroll. The exhibition consists of a series of sculptures entitled Real Extractions. 

The sculptures begin as either referenceless sketches or AI-generated images that are refined and 3D printed in polylactic acid. The resulting forms are airbrushed so they seem to glow, illuminated by a nonexistent light source. A large-scale vinyl print covers the floor, grounding the works in their own vacuum-sealed environment and creating an illusion of depth, shadow, and light. In this setting, the abstract armatures begin to resemble alien musculoskeletal joints, sinister space-age instruments, or the components of an assault rifle.

Crap Shoot links the trajectories of speculation, weapons, and extraction with the precarity of object mimesis, ultimately placing us somewhere uncertain and unfamiliar. Art is made despite generally hostile conditions; it’s something of a gamble or a crap shoot. To ‘shoot craps’ is literally to throw the dice. Thus, shooting is something you do with a camera, a gun, or dice. In following this line of thought, the objects in Real Extractions also seem capable of taking a shot. 

In the age of computer subjectivity, these works are Rorschachs for humans grappling with machines. Kroll’s work contends with the antagonistic conditions in which we find ourselves and asks us to look closely at forms that destabilize us. The decoupling of representation from reality has led us to see what we want and simultaneously fear.

“All my feelings come out of America. When you leave America, you get peace. America is a very violent place, so when you leave, you get that peace - to create. My language is still American, though. I don't know the language, the rules, or the structure of other countries. I was never a kid in any other country... In America, everybody's got a gun... I've got a few of them.” – Bob Dylan, 1978