The Universal Thread in Miles Huston’s “L’état C’est Moi”
Miles Huston’s show “L’état C’est Moi” (I am the state) at Still House in Red Hook, features five unique sculptures, two framed colored pencil drawings, and an icon painted directly on the wall. Each piece is highly crafted and conceptually dense. The various subjects are simultaneously specific and cryptic, for instance– a King Lear/King Louis XIV two sided bust, a Charlie Chaplin mask ensconced in artificial grass, and a diorama of daredevil Felix Baumgartner’s free fall from space. Readings of these works are not particularly open to interpretation, and ambiguity is pushed into the margins. Despite a wide range of materials and approaches in this show, connections between all the works are instantly and inevitably created. While many of these pieces could stand alone, there is one universal thread which brings everything together:
Huston believes that the existence of each artwork in this show is inevitable and that the systems required for their creation have always been in place. Huston sees himself as an ‘organizer’ and his artworks as ‘demonstrations’. His role is to gather and carve out the parts, and make the proper arrangements in order to accelerate systems that inevitably lead to the manifestation of the art object. In this way, he thinks of his objects as ‘ready-mades’ because the cultural/physical material and conceptual mechanisms that allow for their creation are already functioning. Huston’s aim is to observe and reveal subtle connections, find new meanings, and ultimately, even if just for a fleeting instant, expose the rhythms underlying everything.