Jacqueline Kiyomi Gordon, installation view of “No Touch,” with Untitled (Fantasy II), 2012; foam, felt, cotton, wood, ultrasonic speakers, mp3, and speaker stands, dimensions variable.

Jacqueline Kiyomi Gordon

San Francisco

Eli Ridgway Gallery

Though Jacqueline Kiyomi Gordon’s exhibition “No Touch” explored the interrelationship of space and sound, it was the translation of sound into visually beautiful, “fine art” objects that acted as the siren’s call, luring us in for a closer look and listen. Stepping off the hustle and bustle of Minna Street, viewers entered the quiet of the lobby, which has become an important transition space in which gallery owner Eli Ridgway orchestrates a program of rotating installations. The narrow hallway, with its dark reverberant flooring leads to a storefront, aluminum frame door, which, for Gordon’s show, opened to reveal her first installation, Untitled (Fantasy II). At the center stood an object with all the telltale signs of an abstract sculpture—angular lines, larger-than-human size, simple, non-decorative forms—but rendered in the stuff of a suburban corporate interior: acoustic foam, felt, and wood. Two speakers, pointed toward opposite sides of the object, played an array of popular music, though no one was listening. …see the entire review in the print version of March’s Sculpture magazine.