The work of Michael Hakimi examines, amidst a multi-layered practice, the narrative potential of basic geometric forms – price tags, street maps, satelitte dishes – the very structure and architecture of our urban spaces and experience. Through the abstraction of these cultural and political daily signs, Hakimi focuses on the function, consequence and perception of image, shifting the viewers perspective and drawing questions of how to experience representational image, object and image, three dimensional spaces and so on.
Hakimi has described a desire to effectuate a ‘switching effect’ in the viewer, where meaning appears, only to then collapse. Linking the exterior world to the exhibition space through the inclusion of advertising billboards, a cigarette, the meaning of these objects is reduced. Placed in a space of two- dimensional ‘objects’ the viewer attempts to ‘order’ the image, and yet is left to question again their narrative and their own place amongst them.
Through this process of formal reduction, Hakimi introduces a flatness to these forms. However the pictorial space they produce, Hakimi describes, ‘should stretch as far and as deeply as possible, and let the meanings emerging therein appear as symbolically loaded as possible.’
For his exhibition at Mary Mary, Hakimi presents a body of new sculptural works and works on paper. At first glance they may appear as a group of heterogenic minimalistic sculptures and pictures but through a fine network of correspondences in form and meaning, different narrative readings emerge. For example, the profane urban and suburban everyday experience alongside the appeal of advertisment, cheap consumption and boredom.
By reflecting clearly the relation between themselves,the body and the actual space and linking to this the narrative and representational allusions he employs, Hakimi attempts to connect the white cube of the gallery space to its actual urban context and its economic determinations.