Bound to both exhaustion and perpetuity, the ellipsis operates as the central motif in Where the Void Begins, which considers our changing relationship to work, leisure, and purpose at a moment when the roles of labor and technology in daily life are being recalibrated.
In writing, ellipses are used where it is unnecessary to finish a statement for it to be understood. Their use signals uncertainty, doubt, interruption, and fragmentation. Occasionally, they can function as an abbreviated infinity or as a sign of exhaustion or refusal on the part of the narrator.
Bound to both exhaustion and perpetuity, the ellipsis operates as the central motif in Where the Void Begins, which considers our changing relationship to work, leisure, and purpose at a moment when the roles of labor and technology in daily life are being recalibrated.
In Untitled (Score), a 20-meter-long ellipsis extends from a “sigh” at the back of the gallery, lining the walls with machinic precision. Garcia’s extnesion literalizes the ellipsis as a figure of infinity–at once temporal and spatial–while establishing a new horizon line.
The repetitive logic and mechanical precision of the vinyl are mirrored in floor sculptures of found metallic conveyor belts arranged into spiral formations. In Coil (Clockwise), Garcia has polished the top side of the belt to a mirror finish, reflecting the gritty underside, eroded and marred from years of factory use. Although the belts appear as industrial artifacts, their spiral arrangements allude to loading screens and infinite scrolls that structure contemporary life.
In sculptural wall works embedded espresso cups become lenses, mirrors, and voids. Here, Garcia considers the role of stimulants, specifically caffeine, as tools for managing motivation, productivity, and focus.
As a whole, the exhibition dwells on the tension between action and reflection, movement and stillness, effort and resignation, tracing the ways these states are shaped by the accelerating rhythm of technology.
Bound to both exhaustion and perpetuity, the ellipsis operates as the central motif in Where the Void Begins, which considers our changing relationship to work, leisure, and purpose at a moment when the roles of labor and technology in daily life are being recalibrated.
In Untitled (Score), a 20-meter-long ellipsis extends from a “sigh” at the back of the gallery, lining the walls with machinic precision. Garcia’s extnesion literalizes the ellipsis as a figure of infinity–at once temporal and spatial–while establishing a new horizon line.
The repetitive logic and mechanical precision of the vinyl are mirrored in floor sculptures of found metallic conveyor belts arranged into spiral formations. In Coil (Clockwise), Garcia has polished the top side of the belt to a mirror finish, reflecting the gritty underside, eroded and marred from years of factory use. Although the belts appear as industrial artifacts, their spiral arrangements allude to loading screens and infinite scrolls that structure contemporary life.
In sculptural wall works embedded espresso cups become lenses, mirrors, and voids. Here, Garcia considers the role of stimulants, specifically caffeine, as tools for managing motivation, productivity, and focus.
As a whole, the exhibition dwells on the tension between action and reflection, movement and stillness, effort and resignation, tracing the ways these states are shaped by the accelerating rhythm of technology.
