In his solo exhibition at SomoS, Gauche Obsessions, A Guide to Unknowing, British-American architect, designer, and multidisciplinary artist William Beck navigates the liminal terrain between knowledge and intuition, reframing our perception of objects and inviting us into a world of layered ambivalence, between utility and abstraction.

The exhibition unfolds like a philosophical inquiry into our cultural and subjective gaze, deconstructing our prescribed Manichean understanding of utility versus abstraction and design versus art. Beck’s intriguing objects blur these binaries to reveal the irony of our dichotomous gaze, exposing the capricious nature of our categorizations and subtly subverting the preconceived frames of our perception.

Each piece in Gauche Obsessions, A Guide to Unknowing, meticulously crafted and teeming with material fascination, straddles this delicate boundary with effortless dexterity. Beck’s work oscillates between the realms of tangible usefulness and abstract significance. An object, in his hands, exists simultaneously as a semi-functional entity and as a symbol, its identity wavering between what we perceive and what we assign to it. This provocative juxtaposition defamiliarizes our ingrained notion of an object’s inherent ‘usefulness,’ encouraging us to contemplate the multifaceted interplay of perception, interpretation, and value.

The Gauche Mode

Enshrined in what Beck identifies as a “gauche mode” of production, his work stands in stark contrast to the architectural traditions grounded in custom, reference, argument, and reason.

Instead involving “following, finding, wandering and searching,” his approach reminds us of Roland Barthes’ interpretation of the “gauche” or “lefty” as one who doesn’t quite discern the trajectory of their gestures, guided solely by the desire of the hand, not its instrumental aptitude. In contrast to the discerning eye symbolizing reason and control, the “gauche” navigates its path through intuition.

Consistently, Beck favors non-precious, sourced materials, viewing his creations as proxies akin to architectural models that gesture towards full-scale buildings yet retain their own autonomous intrigue.

Leitmotifs

The creation of the objects was loosely guided by four “obsessions,” conceptual leitmotifs formulated by the artist. Some articulate “gestures,” their narrative strands and material quirks spark a dialogue with our imagination, inviting us into an associative journey. Others involve the playful obfuscation of functional objects, enveloped in intriguing shells that whisper of their previous incarnations.

The concept of “Poetic Enjambment,” which is manifested in the whole curation of the exhibition, refers to how the artworks interact with each other. It creates an experiential quality where things that seem far apart actually feel close together in unexpected ways.

Lastly, the recurring motif of “the figure and the frame” could be considered the main spiritual backbone of the exhibition, encapsulating the interplay between structure and serendipity in the act of creation. The “frame” symbolizes immutable laws and constraints, yet within it, the “figure” blossoms – an amalgam of random elements, a testament to the capricious beauty of chance and the unpredictability of creation. Each piece, in its unique material manifestation, embodies “the discrepancy between intuition and knowledge,” conveying the exquisite tension and precarious harmony between the regimented “frame” and the effusive “figure.” William Beck’s ambivalent objects teeter on the fine edge of these dualities, pulling us into their gravitational orbit of inquiry and revelation.

Process

Though the four “obsessions” are his starting point, they do not limit Beck’s process. Rather, they root him in what he wants to produce, allowing improvisation and exploration to commence.
Beck’s process is kept fresh by “prompts” or predetermined tasks that bring disruptive or performative elements to his workflow. By putting reminders on his phone, set to go off at random intervals throughout his working days, Beck intentionally fought his architectural training. When he would lose himself in his process, his phone would tell him something like, “take a piece for a walk.” When he would get precious about every last corner and ridge, his phone may demand, “destroy your work.” These interventions worked with the obsessions to create a process of structured improvisation, deviating greatly from the artist’s training.

Through his work, William Beck liberates us from the confines of our categorical thinking, unraveling our compulsive need to classify and interpret. His objects, imbued with ambivalence, challenge our preconceptions and invite us to encounter them free of preordained notions. The exhibition, thus, becomes a canvas for our individual narratives, a playground for our interpretations, and a mirror reflecting our cognitive biases.

Gauche Obsessions: A Guide to Unknowing is a meditation on the interplay of utility, abstraction, randomness, and structure. It is an invitation to partake in a dialogue with our perceptions, to embrace the fluidity of objects, and to celebrate the unexpected beauty that arises from the serendipitous dance between the “figure” and the “frame.”

Workshop: The Gauche Mode – Theoretical and Practical Aspects of Object-Making

In conjunction with the exhibition, Beck will conduct a unique workshop, The Gauche Mode – Theoretical and Practical Aspects of Object-Making, on Saturday, July 29, from 2-6 pm. This hybrid artist’s talk and hands-on workshop promises to be an exciting exploration of the innovative theories and practices that underpin his artistic process. Participants will delve into the creative realms that gave birth to Beck’s ambivalent objects, exploring his four guiding “obsessions” and encountering the structured improvisation that is the hallmark of his creative process.

The workshop, held in English, welcomes participants of all backgrounds, from students to art enthusiasts and anyone in between. No prior art background is required. Materials for object-making, including sourced goods, clay, plaster, wood, paint, paper, cardboard, and rope, will be provided, with limited power tools available with assistance. Participants are also invited to bring any objects or materials they’d like to incorporate into their pieces.

Engaging, enlightening, and intellectually stimulating, Gauche Obsessions promises to be an exciting exhibition. The show and workshop are a call to break away from conventional perceptions, a celebration of the fluidity of objects, and a tribute to the universal serendipitous dance between structure and improvisation.

Register for the free workshop by emailing somos@somos-arts.org. Don’t miss this unique opportunity to immerse yourself in the world of William Beck, where the abstract meets the concrete.

About William Beck: William Beck (b. 1996) is a British-American architect, designer, and multidisciplinary artist based in New Haven, Connecticut. He is a Master of Architecture student from Yale University 2024, who has recently worked for Christ & Gantenbein Architekten in Basel. Complementing his architectural pursuits, William is dedicated to design and research grounded in “making.” June/July 2023, he took part in an artist residency at SomoS, also working in the famed sculpture facilities of the BBK Kulturwerk.

Details

Opening: Wednesday, July 26th, 6-9 pm

Duration: Thursday, July 27 – Saturday, July 29, 2-7 pm and by appointment

Workshop with the artist: Saturday, July 29th, 2-6 pm

Location: SomoS Arts – Kottbusser Damm 95, 1.0G, 10967, Berlin

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Exhibition documentation by Julian Blum.