Realism, Curated by Kat O'Connor
Statement from the curator:
Art is by its very nature abstract. We take a source- an idea, a thing, a memory- and turn it into an object or an image. It is selected and then filtered through the artist’s imagination. Skill comes into play in the method of capturing that selection: the use of the camera, a paintbrush, or a system.
‘Realism’ exhibits the work of six artists whose process and source become realistic elements in their work.
Cristi Rinklin breaks bits of landscape down into floating elements, pieces of a puzzle that is never continuous, never existing on the same plane, and in that regard more realistic to the way memory functions. The painting attempts to place a narrative on a concept that is ever changing. Blocking out bits of landscape that might disappear, or that have already been broken apart, by memory, or by human consumption.
Roger Palframan’s photographic images use scale to allow us to appreciate an image visually. An extreme close-up of the Boston Marathon finish line becomes texture, color, and shape. Something more than hard macadam but without the encumbrance of history, memory, and a collective understanding of what a simple yellow line can mean. The more realistic it becomes, the more it is separated from its specific reality.
Lucy KH Kalian chooses specific landscape elements, single trees, often dead and decaying. They are isolated on white space, doted upon in the recording of detail. The geographic location of the tree, latitude and longitude, is recorded along with the chosen title.
Ri Anderson flips space and shape when she photographs the momentary imprints of sweat-covered bodies on a floor. A surface that is undeniably flat briefly retains the image of a body. The background, which in fact is the foot-scuffed dance floor, becomes atmospheric and three-dimensional. We read it as space, the body becoming a two-dimensional surface that reflects light and holds shadow.
Madge Evers’ spore paintings read as almost entirely abstract images. In fact they are the leavings of mushrooms dropping their spores onto a sheet of paper. Evers places the mushrooms on the paper, occasionally blocking it with other natural objects-leaves, sticks, etc. The direction of the wind dictates the shapes the spores take and line is created when worms leave the mushrooms and track across the surface of the paper. Evers orchestrates the image but cannot dictate what the image will be.
William Scully photographs botanical specimens through a microscope, using elaborate grids to piece together a final image that reads as line, color, and shape.