The Builder was here

Bryan Reynolds
The Builder, Removed
Patrick Duegaw
Wichita Art Museum

Patrick Duegaw’s exhibit at the WAM displays a large amount of work filling 2 rooms. With a deliberate focus on the building process the studies, often shown next to final products, act as artistic blueprints. Many of these studies overshadow the final product and hold a stronger visual interest. The title of the exhibition is a mystery to me as the idea of a builder is implicit in the works construction. Further more there are several self portraits in the show and there is a looped video shown in fast motion of the artist cutting pieces of sheetrock for the works.
The construction of Duegaw’s works are laborious. They all consist of sheetrock that has been cut into pieces, attached to a background surface with screws. The screws are sometimes placed in conjunction with the images he paints on the sheetrock such as a pivot point for a tool. Otherwise they show up regardless of the location as a constant reminder that these pieces are assembled. There are shapes created by the pieces of sheetrock that serve as another layer of visual interest. Knives, fish, chandeliers are created out of sheetrock and the negative space formed in the gaps. The pieces range in size from approximately two foot squared to large 60X114 inches and a couple of very long murals. In places the sheetrock was attached wrong side out, a detail that demands attention from the viewer as Duegaw never misses an opportunity to shout “this was intentional and assembled!”
The exhibit is promising upon entering the gallery. Less traditional than the typical shows at the Wichita Art Museum this work brings the facility into a discussion of art being made by today’s artists. In a building ruled by a dusty Cassatt it is fantastic to see something this contemporary on display. That being said the works quickly go from interesting to gimmicky. Whether the pieces of sheetrock and the images they sometimes create are linked seems arbitrary. Exclusively working on that format the sheetrock often becomes distracting, as if Duegaw was tied to this idea even if it did not adhere to the concept of the individual piece. The studies often have more energy and passion than the resulting work, although this is not always the case. Next to one of the works there were multiple ink wash studies of a tea kettle that belabored the point that the piece was planned out and reflected only a small part of the work.
I am happy that the WAM was willing and able to host this show. Normally anything of this nature would have been relegated to a smaller gallery with limited viewing time and even less community awareness of the show. Wichita is becoming a more inviting environment for artists and I hope that continues. Duegaw is exploring interesting ideas and materials and is a skillful painter. Even though the show falls down in some aspects I would encourage everyone to go see it.