Richard Chow’s latest opening was a phenomenal chance to see his evolution as an artist, toward his current status of invoking in a Promethean manner new structural conceptions. He was able to do so in a sublime manner of capturing realistic geometries but through photographic magic birthed a dreamy, almost Platonically-inspired, form of the triangle with his Into the Light | Windows. It is a great service to articulating what art ought to be. In simple terms, it is this.
 
It is taking a rubber eraser around the pencil-thinned lines of human limitations to experience, which are treated as industrially cemented walled bricks, and providing to the subject a gentle entryway through the odiousness of the subjects’ natural constraints to their everyday peripheries. This sacred portal may or may not create a moment of awe – the greatest works of art tick that box – but they universally expand the horizon of human finitude.
 
Irrespective of the multitude of creative expressions that can accomplish this task, the Mr. Chow has approached it through architecture. And perhaps architecture is an overlooked constraint on being human – our habitat literally shapes us and so to confront us with it in an artistic manner is welcoming. But what he accomplishes in his work in general is this profoundness in the geometries that bind us.
 
Mr. Chow almost brutishly forges his, for lack of better phrase, sacred geometrical triangles with the aforementioned Into the Light | Windows, and this is understandable given his artistic instrument of the camera. This forcefulness gives his newly presented works an air of bravado in the wake of the act of creation. Not the creation of an artwork, but more: the creation of a new geometrical element for the mind to conceive of. A genuine artistic accomplishment.