a kind of radical, interdisciplinary sleight-of-hand. The Great Circuit project remains profoundly elusive even as it directly engages realms as diverse as phenomenology, mathematics, economics, ecology and spirituality." McKean is known for spending many years to complete projects. Notably, he worked for 10 years developing The Rainbow: Certain Principles of Light and Shapes between Forms a project that created a fully self-sufficient urban rainwater harvesting system used to create real prismatic rainbows. In 2012 the project was realized at the Bemis Center for Contemporary Arts. Speaking of the resonance of the rainbow image McKean states: "through all of time there has been only one rainbow. Coded within the image there is a consistency, an extreme fidelity in the essential form of a rainbow. The image doesn't evolve or degrade in the same way a piece of fruit does, or an iPod does, or even more stoically the way a mountain does — it is a constant. When we see a rainbow we are communing with our ancestors — seeing exactly the same shape they saw just as we astral project into the future witnessing the same event our children's children will see. It races out to the edges of time. But this image is also fully absorbed in the here-and-now and in all its fleeting fragility, at the moment we witness a rainbow it reminds us that we are also here, and right now. As someone that thinks a lot about objects and time, the rainbow became an interesting starting point to build a series of metaphors about objects, time and people...." McKean is interested in giving new and expanded agency to materials and objects. Mckean's work is often aligned with speculative realism and object oriented philosophies. Speaking with Clayton Sean Horton in 2013 in advance of his solo show at Horton Gallery in New York City, McKean states: "The sculptures embrace a double-reality where materials and objects travel between their lives ‘with us;’ a reality that supports their associative meanings, poetics, functions, references, mythologies, politics, and ordering systems that we construct for them, and their inward, private lives as pure material ‘without us;’ a parallel, more speculative reality where objects float in psychic voids, ambivalent to our desires and needs for them…. I’m curious if somewhere in-between this object-oriented shadow world freed from human associations, and the mind-dependent, literate world we create for objects, there might be a fucked-up,