EXHIBITED AT THE SAATCHI GALLERY
Urethane resin, polyester resin, pigment, aluminium, titanium, wood, and mixed media. 29 panels (28 installed, 1 leaning)
Approximately 7 1/2 x 17 1/2 feet x 3/4 inches
Comprised of 29 individual panels assembled as one large piece, Jedediah Caesarâ€™s Dry Stock is a â€˜paintingâ€™ that might best be described as a sculpture. To make this work Caesar collected the dirt and other items meant for the trash from carpentry and metal cutting factories and used them as â€˜pigmentsâ€™ and readymade shapes of colour and texture for his abstraction. Sealing these within a large solid block of resin which was then sliced into thin segments, the tiny objects suspended in the workâ€™s surface give the effect of giant microscopic slides. Presented in chronological order, the tableau reads from top to bottom like a film strip, scrutinizing the dissected progression of objects in space. Through recycling the inevitable waste of production, Caesar approaches making as a form of hyper-efficiency, transforming excess and offscourings into an infinitely detailed and beautiful abstraction.
Untitled (Glyph Cube)
Wood, polystyrene, resin
40.6 x 40.6 x 27.9 cm
Using the archetypical minimalist cube as a departure point for embellishment, Caesarâ€™s Untitled (Glyph Cube) is made from discarded objects cast in a block of resin; the rectangular shape is cut from a larger mass to reveal the textures and colours of the embedded materials.
With the varied patterns replicating drawing, carving, or fossil formations, Caesar transforms a cubeâ€™s expected visual purity into a platform for information overload. The sculptureâ€™s battered looking facades are reminiscent of both ancient hieroglyphs and street graffiti, posing suggestive coded meanings and narratives.
Untitled (White Domino)
Resin, pigment, studio detritus
5 parts, dimensions variable, each piece approx 38.1 x 38.1 cm
Caesarâ€™s Untitled (White Domino) progresses the strategies of process art, creating finished pieces which are conceptually streamlined and aesthetically savvy. Cut from the same block,
each of the components is a cross section exposing the various materials suspended in the tinted resin, giving the impression of prehistoric drawings or excavated treasures found in slabs of exotic minerals. Presented in a henge-like arrangement, Caesarâ€™s sculptures pose as luxuriant ruins, eliciting mysticism and wonder from a contemporary â€˜archaeologyâ€™.
Helium Brick (detail)
Polyester resin, polystyrene, pigment, wood
132.1 x 132.1 x 254 cm
Caesarâ€™s Helium Brick cleverly conceives the act of making as a process of decay. The large block structure is made from Styrofoam which was then coated with Caesarâ€™s trademark
coloured resin. Reminiscent of Gustav Metzgerâ€™s Auto-Destructive art, the two chemically incongruous materials reacted, and the Styrofoam was eaten away, creating an strange stucco-like surface. Mounted on shipping crates Helium Brick looms with alien presence, its texture suggesting something biological and unnatural, framing his sculpture as a specimen of dubious origin.