Friday, July 11th
Reveal Show: a group exhibition presenting work that pertains to diverse ideas of "revealing the unexpected" or "exposure of the forgotten."
[click to enlarge: Long Way Home by Rachel MacFarlane]
ABOUT THE ARTISTS:
Christy Kunitzky is concerned with drawing our attention to the residues of human existence in spaces. One of her latest projects was to take a cream coloured pencil crayon and connect all the nail holes in a wall into triangular forms on a white wall. This project creates a beautiful optical vibration of cream on white that was only slightly perceptible at first. She uses common materials to point out visual details in interior spaces that marks minute and seemingly insignificant acts. She calls on the trajectory of minimalism but imbues it with an interest in personal mythologies and warm associations. Similar to the act of writing your name in cement, Christy exposes and reveals the inherent impact we have on the spaces around us. [click to enlarge: Untitled #1 by Christy Kunitzky]
Daniel Rocca is an interdisciplinary artist. Recently, he has been creating animations, a book-a-day drawing series, and has been devoting his year to exploring "stripe painting." Daniel considers himself, and maybe artists in general, as a type of sorcerer. He appropriates visual language from multiple points in history, using their synthesis to stew up new realizations and mythologies. Very much inspired by the language of text and pattern, his recent work with abstract stripe painting was motivated in allowing something simple and drenched in art's historical associations to expose an underlying visual power. In these strange new takes of what is "familiar" art historically, Daniel references its multiple connections from the patterning of time, death, narrative between abstract elements, the experiential device of optical illusions, psychedelia, and a relationship to video game design. [click to enlarge: Minotaur by Daniel Rocca]
Karen Kraven is an artist who practices performance, drawing, and installation. Her work uses materials normally associated with a hardware store. Similar to Christy and Reba, she defines and transforms interior spaces with very specific and restricted formal sensibilities. In the past Karen has cut into walls, defying the restrictions of physical limitations. Scale is pushed, minute and meticulous decision making is executed on a large scale or area, making her work accumulative rather than gestural or immediate. Her work demands a slow and attentive eye. Sometimes a pile up of cut carpet is installed in a ceiling space, other times tiny constructions of cardboard or groat seem to grow from the floor: these details alter and reveal our normal processes of perception. When we would normally look straight, we are forced to tilt our heads up and to sometimes crouch down. [click to enlarge: Trying to make it by Karen Kraven]
Lex Buchanan references the life of a contemporary flaneaur. His paintings depict the view of someone walking through the city or a rural road. Sometimes he paints the scene of an alley way with piles of garbage, or the mundane facade of a logging house. Planks of wood, pylons, stacks of wood and construction refuse are transformed into a depiction of beautifully splayed corporeal paint application (a mixture of "natural" and "synthetic" colour harmonies) and seem more like a wondrous playground than hazardous waste. In these paintings that reference the sublimity and decoration of the Group of Seven, Lex transfigures the unexpected attributes of waste into seductive formal representations. [click to enlarge: Discard by Lex Buchanan]
Natalie Stone makes paintings that are based on suburban settings. She uses a muted palette, crude impasto mark making, and aggressive gestures. Her work simultaneously references the mundane and banal but represents the monstrous and daunting through her depiction of skyscrapers, maps and houses. Sometimes an office building references an infinitesimal chain of jail cells. In the horror of these depictions, a quiet and surreal beauty is derived through a harmonious selection of colours and unexpected breathtaking formal qualities. Natalie reveals the unexpected beauty in the monstrous qualities of the detrimental aspects of suburban communities.
Rachel MacFarlane fabricates paintings that begin with the creation of tiny maquettes made of found refuse. These serve as references for painted "worlds" that fall somewhere between mimetic representation and abstraction. Through a two-step process of translating and transforming, materials that are considered unattractive and unwanted become the basis for artificial and imaginary spaces. This blurs the polarity of the minute and the monumental. In these manufactured places, over, under, and beneath forms, are emphasized to produce an activity of wonder and exploration. In the illusionary settings, materials transcend their original capacities, sometimes becoming weightless, anthropomorphic, and grandiose. The dichotomy between the magnificent and the pathetic illustrates an elevation of the unsuspecting but amazing moments of the everyday. [click to enlarge: Ascension by Rachel MacFarlane]
Reba Forbes creates "paintings" that are wooden constructions, which reference and transform the idea of "framing." She uses these wooden structures to define interior spaces, transforming what is already present. These paintings are beautifully finished and crafted in exotic woods to call upon the synthesis of art that references conceptualist history but roots its making in the laborious and domestic realm of craft. Through these features she re-frames banal spaces into unexpected transformations, exposes the support system of painting as beautiful and important, and redefines craft as not merely domestic but miraculous.
CONTACT: Rachel MacFarlane at firstname.lastname@example.org