Johnston Foster’s work employs found materials, the refuse of our roadside ditches and parking lot dumpsters, mostly comprised of the plastic objects and materials so ubiquitous in contemporary life and so bio-degradably impossible to eliminate. Foster intricately cuts, bends, folds, melts, and wraps these materials into 3-dimensional narratives of immense conceptual depth. Foster’s work is strongly related to a sculptural lineage from, say, Tim Hawkinson’s creations from unexpected materials, to Robert Rauschenburg’s “combines’, to Marcel Duchamp’s ground breaking employment of ordinary objects, and Michelangelo’s genius for turning formless material into detailed and textural replications of life. Foster’s work also invokes the history of subjects in painting, in particular those eras of pronounced narrative inclinations emphasizing social and individual responsibility: 17th Century Baroque and 19th Century Romanticism. In Foster’s work whimsy and humor co-exist with their darker side, an opposition necessary to invoke thought and meaning as the best of humor is often drawn from the experience of struggle and near failing. A “Sticky Situation” is marked by a resistance to change and manifests as an unpredictable and difficult predicament to escape from, a place in which we collectively find ourselves today in economic, political, and environmental concerns.
Big Tipper, 2008