McLean’s unique approach, which he has termed “4D,” or “4th Dimensional art” since the early 80s, provides an integrative framework for layered techniques, timelines, spatial concerns and concepts. Most of the images in “Code Duello, Old Hick & A Big Bang” consist of the figure on and/or in abstraction, but operate as a kind of perceptual projection device confronting space and time beyond the limits of strict 3D and 2D pictorial architectures. Throughout his career, McLean has created art in both solo and collective platforms, and in this exhibition, the artist partners with long-time collaborator Shane Kennedy, a Tennessee native and recent graduate of The Cooper Union. McLean and Kennedy created a series of innovative pull-paintings during a residency at Chanorth in upstate New York in Fall 2013, as part of the “Code Duello” set. Kennedy also prepared lush surfaces for some of the paintings for the Jackson series, and provided substantial technical support for McLean’s project. Additional fabrication services for “Code Duello, Old Hick & A Big Bang” came by way of the robust and bustling artisanal networks in Brooklyn, especially the Bushwick district, where McLean’s current studio is located. McLean’s impetus for weaving the Big Bang into the discourse underpinning the show arose from his doctoral course work at the European Graduate School, and an encounter with NYU’s Tim Maudlin, whose specialty is combining physics and philosophy in exploring the nature of relations to the cosmos.