Exhibited @ www.gallerythe.org June 29 through September 11, 2006 Work by: Judy Stone Mia Rollow Anna Whitehead Emerging artists, Judy Stone, Mia Rollow and Anna Whitehead are all recent graduates of the Department of Art Honor’s Program at the University of Maryland, College Park. With an inquisitive mind, and a strong material sensibility, each of these artists approach their individual subject matter from a unique perspective: Judy Stone employs diverse, emotive materials, carefully selected, to create poetically intuitive responses to both her immediate personal surroundings and a broader social and political context. Stone moves feely between the media she employs (mud, video, thread, bronze) and alternating strategies of presentation (installation, multiples, performance). In turn, the work continually alternates between transient impermanence and fixity, the ethereal and the physically present. For this exhibition the artist has created a series of works on paper that investigates human hair as a drawing tool and a metaphor for both strength and vulnerability. Exploring organic forms and structures, Mia Rollow’s video work examines microscopic facets of nature, that, when magnified, become monumentally, ambiguous landscapes, metamorphosing unexpectedly between elemental states. The artist employs ambiguous materials to generate rich and sensual environments of colour and surface that evolve through time. These are living, unstable terrains whose tenuous membrane respires and blisters, suggesting liminal states and subcutaneous interiority. Through performance and painting, Anna Whitehead seeks to confront identity and hybridization. For this exhibition the artist has chosen to address the urban culture of Brooklyn, presenting a disjointed narrative unapologetically cobbled together from fragmented, incongruous parts - a conflation of personal narratives and collective experiences. Strung together in a precarious net of relationships, it is by their very fragmentation that these images garner their strength. All three artists are at the threshold of their professional careers, with all of the potentiality and opportunity that that implies; they are at the brink, the limits beyond which something will happen or change.
Exhibited @ www.gallerythe.org September 8 through December 5, 2005 Work by: Barb Bondy Christopher McNulty Moira Scott Payne "Drawing, within the visual arts, seems to hold the position of being closest to pure thought." (John Elderfield) Drawing as an immediate and transitive action, facilitates the visual expression of space, time and experience. Against a backdrop of increasingly sophisticated imaging technology, and an expanded use of hybrid media within the arts, the activity of drawing assumes a dynamic and shifting position between centrality and the margins. It is from this unique tension of the understood and the emerging, the learned versus the instinctual that drawing becomes possibility. The three artists selected for "Second Nature" all use drawing as a means to negotiate complex ideas about how we might know, understand and structure the world. Barb Bondy's drawings evince her desire to comprehend cognitive processes at their deepest level, attempting at once to put visual form to hidden inner physiological mechanisms while simultaneously exploring external phenomena. The drawings themselves begin to function as a two-dimensional membrane or threshold through which these correlative ideas pass. The work of Christopher McNulty emphasizes process. A simple, singular decision is extrapolated and unpacked to reveal large-scale consequences. The minor irregularities of hand and eye register across the surface to reveal the inherent flaws of recapitulation as the work slowly transmutes. These are careful, measured works, imbued with a lightness that belies their philosophical weight. In contrast, Moira Scott Payne utilizes domestically sourced materials from anonymous individuals who she identifies only by their postal addresses. Her visual kleptomania of ornamental vocabulary collides with the consumer culture of glossy magazines and domestic furnishings to reveal the conflicting desires and expectations of the everyday. Identity defined by the sum of our belongings; a tangled confusion of dissonant styles and idioms emerge to expose the stress fractures of contemporary living. Each drawing exists as a personal inventory that questions the aggregate value assigned to our material aspirations, against which the delineation of private and public space simultaneously collapses. While the individual works selected for this exhibition acknowledge the extant potential of drawing, it is my expectation that as a body of work, they establish a dialogue between and through one another that will more assertively engage in the broader critical discourse that surrounds the nature of drawing within contemporary art practice.