The work of Graham Gussin explores modes of perception, namely, regarding human vision, asserting aspects of its artificiality. Using film as key material and a reference for his work, Gussin explores how filmic images and ideas spill out into reality, how they occupy the space in our subconscious and shape our perception, which in its essence, does not necessarily have to allude to an entirely truthful reflection of reality. Shifting the initial point of reference by providing a new context to the abstracted image, through appropriation and fragmentation, Gussin creates new narratives, frequently reminiscent of the language of the Sublime.

Dark Light Piece (Texas Chainsaw Massacre Mobile) takes as its point of departure the 2003 American slasher film The Texas Chainsaw Massacre. Using carefully selected stills from the movie, Gussin creates an Alexandre Calder reminiscent mobile. Primary colors and shapes, characteristic for Calder's works, are instead replaced with a selection of beautiful images, depicting long shots that makes the film's nature remains disguised. Choosing calm images and interludes that could be in the context of a horror film considered waste, Gussin alludes to the idea of suspension, heightened by the formal nature of the object. The mobile floats above us like a cloud, with its dark and somewhat invisible subject matter in stark contrast to its seemingly decorative form.



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