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    Open a larger version of the following image in a popup: Roxy Paine, Control Room - Diorama, 2013
    Open a larger version of the following image in a popup: Roxy Paine, Control Room - Diorama, 2013
    Open a larger version of the following image in a popup: Roxy Paine, Control Room - Diorama, 2013
    Open a larger version of the following image in a popup: Roxy Paine, Control Room - Diorama, 2013
    Open a larger version of the following image in a popup: Roxy Paine, Control Room - Diorama, 2013
    Open a larger version of the following image in a popup: Roxy Paine, Control Room - Diorama, 2013
    Open a larger version of the following image in a popup: Roxy Paine, Control Room - Diorama, 2013
    Open a larger version of the following image in a popup: Roxy Paine, Control Room - Diorama, 2013
    Open a larger version of the following image in a popup: Roxy Paine, Control Room - Diorama, 2013
    Open a larger version of the following image in a popup: Roxy Paine, Control Room - Diorama, 2013
    Open a larger version of the following image in a popup: Roxy Paine, Control Room - Diorama, 2013
    Open a larger version of the following image in a popup: Roxy Paine, Control Room - Diorama, 2013
    Open a larger version of the following image in a popup: Roxy Paine, Control Room - Diorama, 2013
    Open a larger version of the following image in a popup: Roxy Paine, Control Room - Diorama, 2013
    Open a larger version of the following image in a popup: Roxy Paine, Control Room - Diorama, 2013
    Open a larger version of the following image in a popup: Roxy Paine, Control Room - Diorama, 2013

    Roxy Paine USA, b. 1966

    Control Room - Diorama, 2013
    Steel, wood, automotive paint, glass, fluorescent
    Approx. 12.4 x 18.02 x 13.6 ft
    3.7 x 5.4 x 4.1 m
    3704

    Further images

    • (View a larger image of thumbnail 1 ) Roxy Paine, One Hundred Foot Line, 2010
    • (View a larger image of thumbnail 2 ) Roxy Paine, One Hundred Foot Line, 2010
    • (View a larger image of thumbnail 3 ) Roxy Paine, One Hundred Foot Line, 2010
    • (View a larger image of thumbnail 4 ) Roxy Paine, One Hundred Foot Line, 2010
    • (View a larger image of thumbnail 5 ) Roxy Paine, One Hundred Foot Line, 2010
    • (View a larger image of thumbnail 6 ) Roxy Paine, One Hundred Foot Line, 2010
    • (View a larger image of thumbnail 7 ) Roxy Paine, One Hundred Foot Line, 2010
    • (View a larger image of thumbnail 8 ) Roxy Paine, One Hundred Foot Line, 2010
    • (View a larger image of thumbnail 9 ) Roxy Paine, One Hundred Foot Line, 2010
    • (View a larger image of thumbnail 10 ) Roxy Paine, One Hundred Foot Line, 2010
    • (View a larger image of thumbnail 11 ) Roxy Paine, One Hundred Foot Line, 2010
    • (View a larger image of thumbnail 12 ) Roxy Paine, One Hundred Foot Line, 2010
    • (View a larger image of thumbnail 13 ) Roxy Paine, One Hundred Foot Line, 2010
    • (View a larger image of thumbnail 14 ) Roxy Paine, One Hundred Foot Line, 2010
    • (View a larger image of thumbnail 15 ) Roxy Paine, One Hundred Foot Line, 2010
    • (View a larger image of thumbnail 16 ) Roxy Paine, One Hundred Foot Line, 2010
    Moving away from his hyperreal resin sculptures and the perfect industrial sheen of his signature 'Dendroid' series (life sized trees rendered in stainless steel), Roxy Paine's exploration of dioramas began...
    Read more
    Moving away from his hyperreal resin sculptures and the perfect industrial sheen of his signature "Dendroid" series (life sized trees rendered in stainless steel), Roxy Paine's exploration of dioramas began the artist's new focus on wood as a medium. Looking at the machined, synthetic interiors of contemporary America, the warm wood dioramas give us pause to consider the most iconic, emblematic spaces with live with today. Beginning with his landmark exhibition Apparatus at Kavi Gupta in Chicago, which won the International Art Critics Association (AICA-USA) award for best commercial gallery show in the country, Paine set his sights on the abstract concepts of a "control room" and a "fast food restaurant" as subjects for meditation. Reproduced at 1:1 scale, the dioramas are not merely models, but highly illusory viewing rooms onto a static portrait of a spatial moment.

    The Control Room is one of the most ambiguous of Paine's dioramas, a peculiar and curious space which is essentially legible be eludes specificity. The perspective is slightly tilted, giving the viewer a perspective something like a security camera looking into the space. The control panels are unlabeled and, as you look closer, incongruous: This is not a specific control room, but a symbol for "control rooms" in general, drawing influence from music studios, nuclear reactors, NASA mission control, and any number of other broad cultural concepts of what a "control room" might be. This blurred state of being also brings to question the degree to which dioramas themselves, as teaching tools and cultural signifiers, are actually rich with information or are just a mirror reflecting back to us the information we already know.
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    Provenance

    The artist's studio, New York, NY, USA
    Kavi Gupta gallery, Chicago, IL, USA

    Exhibitions

    Roxy Paine, Apparatus, 2013, Kavi Gupta, Chicago, IL, USA
    Roxy Paine, Serotonin Reuptake Inhibitor, 2016, Beeler Gallery, CCAD, Columbus, OH, USA
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