Extinction Cords 2000

Editor: Right in front of us we have Charles Long’s *Extinction Cords* from 2000, made of resin. They’re such an odd, compelling, organic shape and bright, artificial color. What should we be thinking about as we experience these? Curator: Consider the production process itself. These biomorphic forms are meticulously cast in resin, a material often associated with industrial applications rather than fine art. Long challenges that hierarchy. Editor: So the material is part of the message? Curator: Absolutely. Think about the labor involved in creating these seamless, smooth surfaces. The hand of the artist is present, yet obscured by the synthetic quality of the resin. What does that tell you? Editor: It makes me think about mass production versus handcrafted objects, and the value we place on each. Curator: Exactly. Now consider the title, *Extinction Cords.* Do the bulbous shapes and their spindly, cord-like protrusions evoke any ideas of biological mutation, or perhaps a world choked by its own synthetic creations? Editor: I didn't think about the title at first. Connecting that to the forms, I can see it as a critique of our relationship with technology and its impact on the natural world. Curator: Precisely. It highlights the increasing intersection between the natural and artificial and challenges us to confront the material consequences of our consumption. Editor: It is really striking how it uses an appealing, bright orange to address a concerning subject. Thanks for pointing out the relation between process and meaning! Curator: It reveals how seemingly innocuous materials and production methods can be imbued with profound cultural commentary. It encourages a more critical understanding of materiality.