From a distance, Jason Clay Lewis’s sculpture Black Tide Tower brings to mind an isolated fragment of rusting industrial architecture: a refinery stack or a factory chimney. On closer inspection, the tower’s rusted patterns congeal into groups of galloping knights on horseback and vignette-like scenes of interrogation and torture. Rising up the shaft of the tower, the figurative imagery brings to mind medieval or Renaissance engravings or woodcuts, boldly transformed by the artist into the medium of rust bleeding into the blackened surfaces of oil barrels.
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