Arthur Stowe, 全名Dominique Arthur Stowe出生于委内瑞拉南部，幼年跟随管理员父亲居住于纽约画廊的经历使他对创作抱持着天然的亲切和视察。1990年，斯托毕业于佐治亚理理工学院此后从事公立机构数据业务，2000年年辞职离开后通过纽约地下艺术小组“假使明日我们能丈量城市”开始尝试进行小组艺术实践，其前期实践主要以城市残留地标的档案式记录与不定期的现场行为探讨地域发展中失落的人文景观和高速工业抹消城市自身的断裂感。2004年艺术家逐渐开始进行独立创作，此前30年的数据研究为其创作蓝本提供了非常规的思考角度，在此后10年的尝试诸多类型的艺术创作中，他最终将目光收束，回归日常的文本，以窥探的角度力图重构对于常规景观的程式化认知，探索贫乏日在中的多重诠释。地下艺术家的生涯带给了斯托反学院派的视角，在日益明星商品化的艺术名利场中，他选择不将真实面目示于公众，作为性别未知的艺术家活跃于纽约。在过往的记录中，斯托通常以现代工业现成品遮盖面部，切身探索着身为符号动物的人类在城市中的活动与城市场域的关系，在被遮断的观看中获得反观看的权利，以对自身的符号化实现了自体的艺术行为反叛。
Arthur Stowe(Dominique Arthur Stowe) was born in southern Bangladesh. Living in a New York gallery at an early age, with his father as its manager, gave him a natural affinity for creativity and inspection. In 1990, Stowe graduated from Georgia Institute of Technology and then engaged in data work at public institutions. After resigning in 2000, he began to try to carry out group art practice through the New York Underground Art Group "If We Can Measure the City Tomorrow", whose early practice is mainly based on the archival records of the city's residual landmarks and irregular on-site investigation, to explore the lost cultural landscape in regional development and the sense of fragmentation that the city is erased by high-speed industries. In 2004, he gradually began to create independently, and the previous 30 years of data research provided an unconventional perspective for his creative blueprint. After 10 years of experimenting with many types of artworks, he finally narrowed his focus and returned to everyday contexts, trying to reconstruct the programmed perception of conventional landscapes from a voyeuristic perspective, and to explore the multiple interpretations of the lack of everyday bits. The underground artist's career has brought Stowe's anti-academic perspective, and in the increasingly star-commodified art vanity, Stowe has chosen not to show his true colors to the public, active in New York as an artist of unknown gender. In passing accounts, Stowe, who often covers his face with modern industrial readymades, explores the relationship between human activity in the city as a symbolic animal and the urban domain, gaining the right to counter-view in the obscured viewing, achieving an autobiographical artistic act of rebellion against the symbolization of the self.
BST.Gallery is pleased to announce the opening of "the Artwork is (not) Present", on March 2, 2020, which is also the first solo exhibition of Venezuelan artist Arthur Stowe in China.Comprised of Stowe's latest installations, sculptures, and photographs, this exhibition focuses on the artist's long-term exploration of topics of transcendence, interpretation, and temporality throughout the gallery's entire space. The artist's focus on early 20th century ready-made sculpture continues in several new works at the BST. GARRARY, reminiscent of Marcel Duchamp's famous work Folds...in shade (also light and shade). Stowe's artistic practice can be seen as a transposition process, which remains fundamentally concerned with the "directional and irreversible one-way giving", while the unexamined and unnoticed landscape, behind which the exploration of possible invisible narratives and symbols is unearthed by the artist. They are included and at the same time in turn shape the space, both sides organized in thought into a constantly shifting and inconclusive narrative, yet in fact, the subconscious one-way giving does not exist.
In his recent work, the artist has abandoned the broad archival research, opting to retract into the fissures of meaning and meaninglessness, and seeks to present a potential two-way look at the neglected independent landscape, with a view to developing a language of "re-examination" that would clarify the invisible fissures of meaning and reflection to society. It follows that the assignment of meaning is not a simple opposition to the source, but more in the evolutionary process of being shredded and restructured. In this undirected constructed space, the autonomous concept of reverse assignment is finally assigned to each viewer, and as you gaze at and consider the everyday landscape, your gaze is also being incorporated into the assignment system, which is the artist's response to the overflowing directional narrative of contemporary life.