For his exhibit its own mirror/nocturnal opposite/solar void/concrete absence, Rockhill extends an investigation into the formal properties of negative space and sculptural inversions begun in the fall of 2010. In the spirit of that investigation the current exhibit is loosely based on Stanley Cavell’s interpretation of Beckett’s Endgame in his book of essays Must We Mean What We Say? Rockhill stages a mise-en-scene of associative visual links drawn from a vocabulary set in minimal, performance and conceptual art that is meant to deploy Cavell’s “hidden literality” – a seemingly willful effort to thwart comprehension where meaning is missed because “it was so utterly bare – totally, therefore unnoticeably, in view.”

Zach Rockhill’s work engages a range of practices and concern, drawing broadly from philosophy, architecture, science fiction, and art history. Rockhill holds an MFA from Rutgers, Mason Gross School of the Arts and a BFA from the University of Kansas. His work has been exhibited nationally and internationally. He is currently adjunct faculty at The Cooper Union in New York City.