Appearing at dusk, clearly within one’s field of vision, the ghost lights of Marfa, Texas, flicker and dance for a moment before disappearing into darkness. Many claim that most of this light business is caused by the far off cars on Highway 67. Yet according to local lore, the first settlers in 1883 saw the lights long before automobiles or highways existed.
Melding the mechanical and the organic, hand-made and ready-made, rough-house paint handling and detailed drawing, this installation, like much of Saylor’s oeuvre, seeks to integrate the visual bombardment of city life into a personalized lexicon of imagery made unique by way of unlikely juxtapositions, humor and an intent to render the viewer slightly off balance.
Much of what you see in “Ghost Light Junky” is the product of a two-month residency at the Chinati Foundation in Marfa, made with the sole intent to enjoy the freedom that the time permitted and the landscape inspired. The opportunity to present these works came as a complete and welcome surprise. The resulting installation, including a work specifically made for The Journal Gallery space, is a collaboration whose nuances scintillate, evaporate, and suddenly reappear like a mirage in the desert, which is where, in junkyards, Saylor made and left behind the sculptures that became the catalyst for this exhibition.
Bill Saylor has exhibited internationally and his work has been included in such shows as “Kults, Werewolves and Sarcastic Hippies,” Yerba Buena Art Center, San Francisco, “California, Contemporary Painters,” curated by Alex Katz, Colby College Museum of Art, Waterville, Maine and has previously been exhibited at The Journal Gallery as part of “Peanut Gallery,” curated by Joe Bradley. Saylor lives and works in NYC.