The work of Perry Pollock avoids the gravitas and cliches of the art world. His work simply exists; content and meaning are embedded in the very ontology of the object: surface, edge, plane, and part coalesce. His minimal-like objects emerge from an affinity with the material presence of the pedestrian and unassuming things of human utility, like a worn square from a scrabble game or the machined groove in the bed of a table saw.

Pollock's objects encourage a level of interactivity; the work is activated by rudimentary gestures: sliding a slat into a slot or raising and lowering a latch. While part to whole relationships elicit a tactile investigation of the object, un-deployed, their monolithic presence encourages visual examination of their form.

–Stephany E. Rimland
lllArt History Faculty
lllHarper College