Peter Goché “Field Notes”, Transient Gallery
Goché’s ”Metal and Ink 1” (Source: Rachel Buse)
Response by Rachel Buse
December 12, 2013
Towards the assemblages in this show, I feel an emotional weight of purpose tied to the identity of each object.
Peter Goché collected these bits (a bird skull, porcelain, old sack and scrap metal) from a field which he frequents. Each thing was in a state of no longer being needed. Either broken or lost, their uses were suspended until recently being picked up, and taken forward. Now they function as compositional scribbles, found lines and focal points.
Initially, I almost overlooked the found bits’ individuality. I didn’t consider where they came from and accepted them as common, straightforward discarded things employed as formal elements in a picture plane. They create the foreground by being tacked to the surface of plywood, matched with an oily black void. They themselves barely altered.
Rainbow inducing light source beneath Goché’s ”Labor’s leftovers: beneath the obscurity of light” (Source: Rachel Buse)
By identifying with the object, I imagine them being frustrated in their new position. They are given a new role, but can’t quite shed their past. They were designed to be a thing, to do something. Now it’s like “Oh hey, I’m a dull rusty squiggle blocking your view of the luxe shiny blackness.” And not only was the black shiny, it also had rainbows swirling about inside. A raking light installed beneath the big one to reveal the iridescence. In the gallery I heard multiple times, “Do you see the rainbow?”
Goché’s “Corvine Caw” (Source: Rachel Buse)
I feel kind of sad about these found things. They have character and chrisima, but who are they now? The feeling is linked more to a sadness of inevitable loss. This heightens when you come face to face with the entangled old twisted piece of steal with a hanging crucifix at face level. When abandoned, had the cross ceased functioning for it’s pervious owner? Above it is the bird skull. What was it like when the skull stop functioning for the bird? Life, death, spirituality, rainbows, what-is-the-purposeness of things now all swirling about in my head.
Goché’s adjustable “Adjust” (Source: Rachel Buse)
My favorite piece was the most hopeful in these series of thoughts. It looked to me like some unused ceiling/archway beams leaning and propped into a corner. They looked ready to be used for their destined function, yet content and at rest. Not on stage suffering an awkward performance. There was no excess, confusion or loss. They hadn’t lived yet, and they are ready and able when needed. I thought maybe they were the rainbow, pre-rainbow before the colors filled in.
Transient Gallery exists in what was an under used office space in the Nestcraft Studio in West Des Moines. Matt Grenier is the driving force behind the shows planned for this small, private space. To see the current show, call Matt for a viewing appointment: (515) 782-0507
Rachel Buse makes sculpture. WEBSITE