DANIEL KLAAS BECKWITH was born in the United States in 1988. Beckwith’s sculptures exist at the collision of cultural paradigms, from videogame arcades to museological displays. Through humorous juxtapositions of cultural artifacts, Beckwith blurs the boundary between the real and the artificial, the commonplace and the metaphysical.

Beckwith holds an MFA in Sculpture from Yale University and a BFA in Sculpture from Virginia Commonwealth University. In 2015, he received the Lin Art and Architecture Scholarship and the Fannie B Pardee Prize. His work has been shown in numerous group exhibitions, including Wet Eyes at MEYOHAS, A Small Group Show of American and British Artists at Space Space, Tokyo, and Vacancy at Motel. Eschaton is his first solo exhibition at MEYOHAS.  




May 5 - June 16

Daniel Klaas Beckwith presents Eschaton, a collapsed and recursive series of informed objects and rules of engagement. A game is practice for a conquest and in a moment where everything is a political exchange, and interesting fictions influence more than boring facts, the world becomes an elaborately scripted piece of entertainment and sport.

Scattered laundry made up of non-orientable manifolds, and a series of spill drawings act as setting for a clandestine geopolitical game of snooker. Guided by a prompt set within odd series of cultural events in the waning moments of the 1990’s from the point of view of an adaptation of a David Foster Wallace-penned tennis game, free rolling snooker balls implicates both work and audience into a game in which volleying frustration is a game-theory-backed tactical exchange. A series of ebay objects offer non-sequitur revised histories, conspiracies and alternative facts within the millennial theater of war.

The extension of the body, a masculine and destructive determination seen in the recreational playing of ball sports like soccer, american football, baseball, basketball, golf, is an entertainment linearly preceded with a preoccupation with weaponry: the precise manipulation of a projectile from one body until it breeches a point of target. The human body is a plastic device and tools and weaponry are derivative extensions of the body, stemming from the desire to expand the organism, or, later; to expand the range of influence with abstracted gestures of force: belief, economy, pop culture, etc. Human progress is built with violence, and as it becomes more efficient it becomes murkier, more esoteric, bureaucratic, and entertaining.