"Lucas Blalock uses materiality as consistent indicators in his photographic constructions, and I suspect his overall process is purposely varied to change up the results. Through his digital tools of stamping or smudging to create iterations, things can get pushed into comically illogical, exhilaratingly ridiculous, or darkly charming pitches. In Film-Object (Potato), he flips his typical structure of distorting and reconstructing forms in 2D to 3D via a kinetic sculpture—a sluggish zoetrope-type carousel of pictures of a potato on a table. Because something is nameable doesn’t mean its only assignment is language—numbers, dirt, potatoes, or even faces for that matter, can be both pure shape without a guarantee of symbolism, and be chosen for their connotations. The repetition and motion is inherently alluring. It harbors a tension from the looming promise of meaning that doubling down on an original implies."

— Bridget Mullen