I did a review of Faur's work earlier in the year: http://artgallerystuff.blogspot.com/2015/01/christian-faur-at-kim-foster-gallery.html
In the pieces at the Queens Museum, Faur uses the tips of crayons as pixels to present portraits of, in this case, one little boy. Faur also seems to bring an interest in linguistics to his work, and certainly did this recently in his last show at the Kim Foster Gallery, when he used strips of color on canvases to approximate phonic sounds or letters and challenged viewers to decode his brief and often enigmatic sentences buried in the color combinations based on a code he had developed. He feels various expressive material forms are a type of language in themselves, exhibiting various limitations, and dictate what we can and can’t say through them. So to Faur an essential element in the definition of ‘language’ would be the fact that it can never adequately convey or represent everything we would like it to and we have to struggle with it and find ways to use it creatively to point, as it were, toward what is usually not expressed but needs to be expressed.
It’s like Faur embraces order and Uribe embraces entropy and wasted energy. He negates the potential expressive capacity of each pencil in order to use it as a type of colored line which exhibits an expressive potential but also extreme expressive limitation. The length as well as color of each pencil becomes the alphabet for his language, as it were, as the visual components of the piece.
Finally, as one enters the museum doors facing the Unisphere, one sees a huge installation of tabs by Alice Hope. According to what was emailed me, “Hope has strung over 700 feet of used can tabs on a continuous line of ball chain and IV tubing. This work is part of an ongoing project, reckoning the tab's fluctuating value in a consistently changing context. Related to the tradition of Land Art, this installation is meant to be experienced in situ, reflecting the changing view of the iconic Unisphere, the consistent flow of airplanes, and the passersby.” The functions of post-industrialized global capitalism work beautifully in some countries to potentially provide universal nutrition, healthcare and comfort. But there’s one big flaw in the system – materials are being created that are more permanent than the most permanent organic material (even more permanent than, say, bones) but these materials are not absorbed back into nature in a benign manner. No one seems to have adequately determined what to do with these materials and the more we try to hide or bury them the more deeply they become embedded in our lives. In the meantime, as this work shows, even the smallest bits of this junk are ever accumulating.