In his sculptural work, John Furer uses references to architecture, furniture design and art discourses, such as abstract painting and Soviet constructivism, to investigate the subject as resistance to hegemonic conditions of reality. Furer challenges the position of bodies towards normative social behaviors, through a destabilization of spatial relationships. He complicates the structures with a series of indexical marks including addition and removal of paint, scratching and violent breaks of surfaces, and casts of gender-ambiguous body parts. Furer bases the dimensions of his performative sculptures on the limits of his own body. The viewer is proposed to conceptually fill the empty architecture/furniture-like structures, and activate an embodied liminal space that operates as counter-reality, and escapes social and spatial determination. With the titles Alternate Possibility for the Work #9, #12, #21, etc., Furer suggests that the pieces function as an alternative to one another, as well as for the versions that were not fixed, indicated by the gaps between the numbers. They could easily be deconstructed and potentially reassembled differently, which suggests the possibility that they are part of a larger invisible structure. Their position, like that of the viewer, is one of instability.
John Furer uses references to art discourses, furniture design and architecture in his sculptural works. He investigates the subject as resistance to hegemonic conditions of reality, through unstable spatial relationships. Furer’s work has been exhibited both in the US (Family Business, Aronson Gallery, NYC; Katz’s Deli, Santa Monica) and in Europe (New Jerseyy, Basel; SAKS, Geneva).