Drip (2025)

Steel with mirrored gold surface

Brendon McNaughton’s Drip suspends a single moment between holding on and letting go. With its mirrored gold surface, the sculpture reflects the viewer, the surrounding space, and the illusions carried within both. At first glance, Drip evokes pop culture — “drip” as slang for wealth and status — but closer contemplation reveals another layer: the fleeting nature of form, identity, and material wealth.

Emerging from McNaughton’s subconscious, the work meditates on impermanence and the nature of true value. Drawing on Stoic philosophy and the metaphor of a drop returning to the ocean, Drip invites viewers to ask: are you the drop, the ocean, or the space between?

In a world defined by accumulation, Drip gestures toward a quieter form of wealth — one located not in possession, but in awareness.

Extended Version - Catalogue Description
Drip (2025)

Brendon McNaughton’s Drip (2025) distills a moment of suspension into sculptural form. With its mirrored gold surface, the work captures the tension between holding on and letting go, permanence and impermanence. The sculpture reflects not only the viewer but also the room around it, implicating the observer in its meditation on identity, illusion, and wealth.

At first encounter, Drip speaks in the language of pop culture. In contemporary slang, “drip” signifies adornment, luxury, and status — wealth worn on the surface. McNaughton engages this meaning, but also destabilizes it. The mirrored surface, rather than offering a stable image of wealth, reveals only fleeting reflections. In this way, Drip exposes the provisional nature of status, possession, and even selfhood.

The work’s deeper resonance emerges through philosophical reflection. Inspired by Stoic thought and the metaphor of consciousness as a drop returning to the ocean — a theme referenced in both ancient philosophy and contemporary culture — Drip asks viewers to consider: are you the drop, the ocean, or the space in between? The sculpture becomes a threshold object, suspending viewers in the awareness of impermanence and continuity at once.

Art-historically, Drip converses with traditions of reflective surfaces in sculpture: from Anish Kapoor’s mirrored forms, which fold viewers into the artwork, to Jeff Koons’s chromium icons, which seduce through commodity polish. Yet McNaughton diverges from pure spectacle, orienting reflection toward awareness rather than consumption. Where Koons monumentalizes desire, McNaughton suspends it, redirecting the gaze toward what lies beneath the surface.

In a cultural moment defined by accumulation, Drip offers a counterpoint. It gestures toward a quieter conception of wealth — one located not in possession but in perception. True value, McNaughton suggests, is found in awareness: the recognition that all forms, no matter how dazzling, are transient.

By monumentalizing a single droplet in gold, McNaughton transforms ephemerality into monumentality, yet without resolving its tension. Drip holds the viewer in that suspended state, reflecting both the illusions we chase and the awareness that releases us from them.