oil and cement
DOMINIC CHAMBERS & SAMUEL WEINBERG
Chambers & Weinberg
The Dominic Chambers/Samuel Weinberg exhibition provides a nuanced glimpse into the human experience. Within this show, paintings serve to explore the impact of community and environment on the perception of the individual. Figures cast around the room capture interactions between humans and otherworldly forces, transforming the otherwise mundane into a fantastical narrative. Through a combination of unexpected mediums, the subject matter carries a sense of universality which allows the viewer to connect to a concept in a variety of ways. This exhibition demonstrates the remarkable versatility of each artist. Their ability to combine seemingly lackadaisical mark making with purposeful and precise rendering inspires my own approach to art-making.
REAGAN MULVEY - Fall 2019 intern
Experiencing Sarah FitzSimons' Ocean Object has given me a number of perspectives on both the process and the concept of art making. The importance of research in the creative process and how that translates a message to the viewer. Every ocean current reflected in the stitching and specific topography of the water, dignified by the different values and temperatures of blue, show how information can be as vast and significant as the Pacific Ocean. In combination with the credibility of replicating the Pacific Ocean, the intimacy of the material choices also captured Sarah's intended concept. Each inch, representing 25 miles, is felt in every joint of the connected materials. The placement of the quilt finalized the concept, for me. Every time I stepped in the gallery, the quilt maintained its presence as both a vast ocean of obstacles while ironically wrestling with an invitation for comfort.
MEGAN DUERLINGER - Summer/Fall 2019 intern
Akin to nature itself, Pacific Quilt is both organic and free flowing, while also being meticulously designed and mathematically crafted. This precise attention to detail is present not only in the work, but also in Sarah’s thoughtful utilization of the space. Assisting Sarah throughout the installation process allowed me to gain insight into the decisions that go into how visitors interact with and perceive artwork in a space. For example, the placement of Pacific Quilt in the gallery makes visitors aware of their location in the room, and encourages them to consider themselves in relation to the locations represented in the piece. Working with Sarah provided me insight into how to effectively display work as well as the artistic process as a whole.
BEN HERBERT - Summer 2019 intern
Pink Sky, Red Sea
Expressive, atmospheric and rich in texture, Ghuluom pulls from her everyday experience in her studio and its surroundings. Working intuitively, she navigates these internal and external environments; she writes, “The ways in which one sees, feels, recalls, and absorbs an experience fascinate me and I consider how this can be translated and transformed through painting.”
The artifice of Miller’s sculptural environments reminds us that the illusion is fleeting. She writes: “The sculptural aspects of the work, created through simple manipulation of mundane materials, play with the precariousness of our perceptions and the fallibility of infrastructure. While at the outset the works seem elaborate, closer inspection reveals the precarious nature of their construction and the mundane materiality that comprises the elaborate façade.”
The Mess You Made
For The Mess You Made, Chung focuses on “the legacies of tools and their unintended use in the hands of the colonized.” Each tool, made and cast from sugar, is hung and cast in overwhelming amounts to create an enveloping installation. These objects are not only symbolic of a much larger story, the material sugar also speaks volumes.
JUAN ÁNGEL CHAVEZ
Stayin’ Alive features a variety of work including: Gramophone, a 12ft3 installation, two assemblages titled Chief Wonder and KOKA, as well as a variety of prints. Encompassing the nostalgia of sound and place, Gramophone is built with its own disassembly in mind. The piece comments on the temporality of shelter and refuge as it hangs from the center of the gallery, creating a tent-like structure. The assemblages made of fishing line and rope come from Chavez’s memory of time spent fishing in Mexico as a kid. Chavez recalls how his line used to get tangled. Now, as line and rope entangle within each assemblage, a connective thread of human migration, adaptability, and influence within the urban sphere appear. Binaries of dystopia versus utopia, tension versus suspension, and human needs versus wants are symbolically played out.
Relics, Fibs, Trash, and Treasures
Relics, Fibs, Trash, and Treasures includes an expansive installation titled Salvage as well as six prints from López’s Urban Transformation series. Salvage, a continuously evolving index of the artist’s semiotics, incorporates prints, photographs and drawings intermingled with found objects. Bits of chain link fencing, orange mesh barriers, barbed wire and scaffolding are systematically taped and pinned to the wall. With specific attention to the individual materials, we are able to examine their history and reimagine the salvaged item’s future.