timo fahler, SKYBEARER, 2025, Steel, stained glass, lead, found object, 62" H x 42" W x 4" D
text by Caia Cupolo
timo fahler’s TERMINAL CLASSIC is a series of eight sculptural wall works that combine images from ancient Maya culture with symbols of America power, meditating on memory, the weight of ancestry, personal upheaval and collective uncertainty. Its title refers to the period between 250-900 CE, when many of the great Maya city-states in the southern lowlands experienced a socio-political collapse and abandonment that is often referred to as the Maya Collapse. Created while the artist was moving from Los Angeles to Amsterdam, these works mark a major life change as his family expanded and emigrated.
fahler’s “SKYBEARER” in stained glass is set behind rusting window bars. This is one of the four deities responsible for holding up the sky, separating it from Earth, and making mortal life possible. His incarceration might explain what has gone so terribly wrong with the cosmic order.
In “IDYLLIC, IDEALIC, IDEA LICK, I’D EEL LICK, I DEAL ICK,” the White House is presented “like a stage prop or an empty shell, holding only the idea of something.” It serves as a potent symbol of the crumbling face of American capitalism, particularly in juxtaposition with “FLAG,” which is seen directly ahead when you enter the gallery. This buckling discarded bedspring that sat in the artist’s studio for months revealed itself as an American flag when fahler discovered that it was composed of thirteen rows. It was the very last piece he created before leaving Los Angeles.
timo fahler, flag, 2025, Steel, stained glass, lead, found object, 73" H x 50" w x 8" D
Because fahler is of mixed heritage, his work often touches on what it feels like to be caught between his Mexican and American cultures. This inner conflict is further articulated by the delicate friction between fragile, colorful glass held by rough, industrial materials, like rusted steel fences, metal bed springs, and rebar. This skillful balance of strength and fragility gives the work an almost animist sense of emotional stability.
When the light hits the stained glass, it casts vivid, colorful shadows on the wall, creating an ethereal extension to the work that is constantly transforming as the day passes. In effect, these shadows act as a performative counterpart to works that are initially perceived as purely visual. Within the changing environment, the integrity of the work and the narrative it portrays persist.
TERMINAL CLASSIC is on view through December 13 @ Sebastian Gladstone Gallery 36 White Street, New York
