At the 40th Street Cut exhibit, I was speaking with one of the artists,
either Keith Evans or Dylan Bolles, and I pointed to these stones and blurted a dumb geologist question that was totally irrelevant to the artwork: “Those aren’t local rocks. Where are they from?”
They are a fairly high-grade schist, something you won’t see anywhere closer than the Sierra foothills, and maybe not even there. But that isn’t important to the art, dammit. Obviously the rocks were picked for their shape and color, to arrange in the symbolic pad under the rising and falling key evoking the Key System and contrasting the mute ground of all life with the mechanical motions of civilization and the metal rails whose relation to the rugged road metal beneath them recapitulates the pounding of hammer on rock that epitomizes Man’s Attitude To Earth
Keith (or Dylan ) lit up instead. “I got those rocks in Maine,” he said. “They’re musical rocks. You strike them and they ring, like xylophone keys.” So these specific stones allude to the sound dimension of this work, and now you know about it too. You don’t particularly notice at first, but there are soundmaking elements that fill the room with humming tones rather like the lost electric whine of the old streetcar motors.
These guys are on their game.