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Evidence and detritus

Gallery: Daniel Everett and the aesthetics of progress

Daniel Everett has a complicated relationship with progress. Though he is drawn to the utopian promises of Modernism, he’s also acutely aware of how empty perfection can be. His work both celebrates and negates order and harmony.

Trained as a photographer but equally fluent in sculpture and video, Everett uses the architecture of cities — including new construction and buildings under renovation — as raw material. The drywall markings or shards of brightly colored cement that once indicated excavation sites are evidence of repair, which is itself a drive for perfection. “It’s about the aesthetics of progress against the mundanity of objects left in the wake of progress,” he says.

His process of discovery is that of the old-fashioned flâneur: he has walked thousands of miles along the perimeter of cities or limned its subway tracks, “going around without a plan and just reacting to the space.” As he rambles, he finds a city’s organizational grid alluring and oppressive in equal measure.


Untitled (from Marker), 2016

By Daniel Everett


Untitled, 2016

By Daniel Everett


Untitled (from Throughout the Universe in Perpetuity), 2015

By Daniel Everett


Michele, 2012

By Daniel Everett


Untitled (from Throughout the Universe in Perpetuity), 2013

By Daniel Everett


Untitled (from Throughout the Universe in Perpetuity), 2016

By Daniel Everett


Marker III, 2016

By Daniel Everett


Redaction from Personal Journal, 2009

By Daniel Everett