On View January 20 – February 25, 2012
Friday, January 20, 2012
6:30 – 8:30 PM, artist talks at 6 PM
Jade Walker’s work consists of a personal struggle with spectatorship, binaries within gender, abstraction, narrative, found objects, desire, and the body as temporal. Walker is interested in focusing on the ideology of American society in respect to the image of the figure and translating that into a tangible object. The macro of the body and the micro of individual organs or skin features are present in each work, evident in small stitches and massive stuffed bulbous forms. Empathy, fear, longing, and rage all find viable moments in the work with an underlying feeling of familiarity, sometimes nostalgia. For Lawndale, Walker’s exhibition examines conceptual endeavors that challenge our recognition of the human body and in many ways and the notions we have of ourselves.
CONTACT, features an array of characters – some fictional and some real – permeated by physical breakdown. The exhibition includes several sculptures and sculpture-based installations that are inspired by the physical repercussions of trauma on the human body. Fuzzy, fabric adorned found objects create a sense of nostalgia for a lost childhood while the sexual characteristics of these objects and situations question the viewer's sense of gender.
This Weird Place, new work by Lane Hagood, Alika Herreshoff, Cody Ledvina, Lee Piechocki, Anthony Record & Eric Shaw. All six artists engage the unsteady ground between figuration and abstraction using diverse, unique means. Through the flaying of representation through abstraction (and vice versa), both are dissected, and we are allowed a teetering view between revelation and obfuscation.
Anthony Record’s images are wrung from the awkward pixels of primitive computer drawing programs, and re-rendered with fastidious care into paintings and needlepoint rugs, which both counter and exalt their origins. Both Eric Shaw and Cody Ledvina work impulsively, in an elemental and pseudo-psychedelic re-examining of the familiar figure through rhythmic amalgamation and deconstruction. Lee Piechocki and Alika Herreshoff’s work serves as a counterbalance, meditative and responsive to the inherent concerns of painting, color, and line (and hinting at, rather than blatant in relation to figuration and intent). Lane Hagood’s approach is scholarly, and rooted in cavernous literary reference which leads to work that both contradicts and acknowledges the post-modern paradox of inescapability from quotation and never-ending intellectual reiteration.
TJ Hunt’s work is concerned with artistic identity and utility, investigating what it means to self-identify as an artist in the current age of ever-expanding artistic pluralism. She attempts to place her work in dialogue with canonical artworks of the past in order to examine her own position in an art historical lineage, often resulting in absurd or overly literal situations. For Breaking Ground, Hunt’s subversive and humorous gestures against boundaries in the physical landscape become a vehicle for exploring ideas of ownership—physical or otherwise—and appropriation. The resulting installation relies on the gallery as contextual site for the relocation of materials, addressing these ideas through a visual language that is at once iconically familiar and absurdly self-reflexive.
Unfadeable So Please Don’t Try To Fade Me features all new work by Texas-based artist Carlos Rosales-Silva. Through varied formal languages the work reflects the absorption and appropriation of minority culture by mainstream American society. Observations of mass produced consumer goods, culturally specific aesthetics, social structure, pop culture, and institutionalized education inform the work and raise questions about historical accuracy and social hierarchy. Rather than taking a specific stance, this body of work embodies a sense of cultural confusion through visual inventiveness and humor.
Also on view
through June 2012