Matthew Mitros (American), Bio RAD #2 (2015). Mixed media. FSU MoFA 201.8.
Bio RAD #2 is the second installment of a twelve piece, wall-mounted series begun in 2014 by contemporary artist, Matthew Mitros. Measuring just 14’’x15’’x12’’ this sculpture demonstrates Mitros’ efforts to utilize small-scale assemblages in his exploration of for m. The exclusive use of abstract form is shown primarily through the brown, aluminum prongs that protrude from this piece. The arbitrary arrangements of these prongs is enhanced by the neon plexi caps, placed on each tip. This use of color complements that of the ceramic mount and draws the viewer’s eye across the piece. The geometric structures are set against the organic shape of the coral-like wood, contrasting the two surfaces. Mitros arranged these components in an off-centered fashion, as they compose the right side of the piece when approached from straight on.
Much like the rest of Mitros’ work, Bio RAD #2 focuses on the juxtaposition of organic and man-made materials. His unconventional manipulation of materials and attachment to the wall enhances the viewers perspective of the inconsistent textures. The strategic combination of smooth and rough surfaces is conveyed through his use of ceramics, aluminum, wood and plexi. In this way, this sculpture presents a challenge to the viewer in understanding the relationship between form and texture as it relates to contemporary art. Mitros continues to add to this collection in his “desire to illustrate the sublime relationship between nature and the mechanized” (Mitros, 2020).
Upon entering the WJB exhibition, each wall mounted piece was intended to be displayed on the left-hand wall. Of the three pieces, Bio RAD #2, was placed in the center, as it is the smallest and most obscure in shape. Flanked by two larger pieces, Bio RAD #2 would have been displayed at eye-level, between Architectural Study for a Wall and Wheeled Ramp. As the outside pieces comprise much smoother and simplified surfaces, the complexity of texture in Mitros’ work would have been emphasized. This piece would also have been displayed across from Places Remembered and Greener Conquests. The strategic proximity of these pieces allows for further comparison between texture as well as the artist’s expression of form.