‘I Exist’ nudges the viewer like the coded curbs that delineate a parking space. Pulling closely to these borders and operating as a part of a larger, external material are the most vulnerable to surface wear. Heavily trafficked spaces accumulate evidence of the relationship between mortal and material. Ravages of time are brush strokes, like journal entries scribed in secret. Structures are activated by the human hand, becoming coded artifacts in deciphering the forgotten urban vernacular that has dissolved amongst the hysteria of regenerative landscapes.
These indicative poems, messages, symbols and territorial lines that are etched into benches, bus stops, bathroom mirrors, and windows, are the modern scripture. The disarmament of the material environment has created a library of hieroglyphics, defines the meccas of communities in the human race. An archaeologist or historian studying our society would be able to decipher a sense of our identity, rules, and laws by studying the language etched into the surfaces society is wrapped in.
Matthew Adam Ross is Currently based in Los Angeles, Matthew Adam Ross employs the use of industrial materials and rubble to narrate the recycled infrastructure of America. The accumulation of marks that are destroyed and resurfaced become archival symbols in the ongoing investigation of rapid structural turn over in fashion and contemporary art. In developing these narratives of ruin, Ross continues to uncover moments of resistance, using them as viable pillars in navigating the identity of society.