Since 2007, Jonah Freeman and Justin Lowe have been collaborating on a series of large-scale, labyrinthine installations. Their explorations of architecture as immersive sculpture draw on historical and fictional narratives surrounding industrial society and its emergent countercultures. Within each project is a detailed narrative world that informs the mise-en-scene of the environments. Habitats of counterculture such as the suburban commune, underground media, the recording studio, and urban squats are mixed up and merged with liminal spaces such as hallways and waiting rooms along with sites of industrial power and innovation such as the office, the lab, and the bourgeois domestic interior. Each environment is a vehicle for an ethno-fictional display of the remnants of the built world, resulting in a highly detailed, profoundly disorienting, and dramatically strange spatial collage.

Materials such as Glazed Ceramic, Silkscreen Ink, and copper are used to create brilliant paintings and sculptures. One space resembling the interior of an anthroposophical chapel includes a floor installation of the same materials used in the wall reliefs /paintings. The adjacent space contains the work entitled, “MACROBIOTIC BUSINESS MACHINES (AUTOBIOGRAPHY OF THE SHADE),” a sculpture that is conceptually charged by its being conceived in the former IBM campus near Kingston, NY.

At OSMOS Station, Freeman and Lowe borrow from Robert Smithson’s model for “Site/Non-Site” with an installation of objects, ceramics, and paintings extracted from the larger universe of their practice–from ongoing projects where the real and imagined are no longer clearly defined.

This exhibition is funded in part by generous support from the A. Lindsay & Olive B. O'Connor Foundation and a Delaware County Local Community Tourism Grant.