In the 20th century, many artists found themselves drawn to the exact sciences—physics, optics, chemistry, and biology—which offered new ways to understand the visible and invisible realms of the world. One could say that Namsal Siedlecki (USA, 1986) follows in the footsteps of these artists intrigued by the possibilities that science offers. Fascinated by processes generally reserved for experts, he takes pleasure in integrating them into his artistic practice.

A fitting example is the title of his exhibition, Anneal Soak, which refers to the slow cooling of glass to prevent crystallization. This cryptic title conveys the unique way in which the exhibition’s duration is defined. Although the usual temporal markers (an opening and closing date) are respected, the artist has calculated the cooling time of a kiln installed in the gallery’s back room as the true measure of the exhibition’s length. The questioning of time is a constant theme in the artist’s practice.

With a playful approach, Siedlecki manipulates the three gallery spaces to display variations of almost identical pieces or works from the same series. This repetition creates a subtle sense of déjà vu, prompting the viewer to reflect on our observation times and the rapid consumption of images in today’s society. The display is sober and precise, with some pieces hung at unusual heights or placed directly on the floor. Some elements are surprising, such as the gas cylinders standing in the middle of the exhibition spaces.

The device connected to one of these cylinders creates solid carbon dioxide at -78.5°C. This deposition process is activated irregularly by a gallery member, and the solid gas block is then placed on a copper pedestal. The solid gradually disappears, returning to gas through sublimation. The disappearance of this gas block, striking in its ephemeral and pristine whiteness, symbolizes the inevitable transience of all matter.