Filtering by Category: exhibitions

Call Collect

Added on by Jourdan.
Squirkle - 2012 - pvc, fiberglass insulation, cast & pigmented water putty, hot glue, animal hair, and hog intestines
This little guy is on view at Hamiltonian Gallery as part of their annual benefit exhibition, Call Collect. Myself and about 100 other local artists were invited to donate small works for the cause. See the online catalogue HERE! There will be a closing reception on Friday, November 9th, from 7-9pm...


Added on by Jourdan.

Opening soon at the University of Maryland's Herman Maril Gallery - an exhibition curated by ME! I am so thrilled to have a chance to exhibit all of this work in the same space. Steve, Lily, and Emily share a really unique way of working with the genre of painting and their work just begs to be shown together. It's going to be an incredible show!

check out my curatorial essay...

To be counter-something, at its simplest, is to be in opposition to something. The term suggests a degree of action taken. When one counters something (an idea, a bet, an offer), he does more than disagree, he responds.

This is an exhibition of paintings. And all three of the artists in this exhibition distinctly identify themselves as painters. Their varied approaches to painting, however, may come across as counter-conventional. When they’re taken off the wall, devoid of recognizable imagery, and at times lacking paint altogether… can we even call such objects paintings? In order to answer such a question, one must be able to define what a painting is at its core, at its roots, which is precisely what each of these artists ventures to do.

Stripped to its bare bones, a painting can be seen as merely a sum of its parts: wooden stretcher bars, raw canvas, and paint. Responding to this notion, artist Lily Kuonen combines these primary materials with tools of the studio, equalizing their purposes in attempts to blur categorical and hierarchical distinctions. She explains, “It is no longer how one material is on top of the other, but rather how each is related to the other.” Through the liberation of her materials, Lily has developed a playful and experimental approach to art making. Her “PLAYNTINGS,” as she calls them, are the result of this process.
 In addition to some apparent formal similarities (such as the exposed raw canvases often situated on the floor), artist Emily Rodia’s approach to painting is similar to Kuonen’s in that she too allows her materials to inter-mingle in unexpected ways. Her paintings are striking in that they rarely include any paint at all. A self-proclaimed “home depot minimalist,” Rodia introduces non-art materials, such as concrete bricks and store-bought plants, to other more traditional painting materials, re-assessing their purposes and combining them to create works that address authorship and the evolution of time.
Artist Stephen Evans speaks for all of the artists in this exhibition when he acknowledges that the most exciting aspect of being a painter is in discovering painting’s potential, it’s possible manifestations, what it can be rather than what it is or is not. The objects and images Evans constructs are more than just inquiries into what it means to make art (though they are that as well). Concerned with both the material and the metaphysical, in each work he also inquires what it means to be human, to exist, and to seek revelation.
Though Evans applies paint to his canvases in a seemingly conventional manner (at least compared to Kuonen and Rodia), the type of paint he uses and the tools with which he applies it don’t come from an art supply store. Paint is rolled onto the canvas as house paint is rolled onto walls of a home. Wallpaper swatches, paint chips, and blue painter’s tape become elements for collage. Interestingly enough, Evans’ combination of traditional and non-traditional materials still refers to painting in some broad sense of the term.

References to building and construction are apparent in each of the chosen artists: Evans’ and Kuonen’s use of bright orange and pink, Rodia’s bricks. They all make efforts to break down the conventional material hierarchy and, through the shared language of painting, use their materials as building blocks for new constructs that explore the subject, the act, and the significance of making.

Sure, this is an exhibition of paintings, but these paintings are more than paintings because they are investigations into painting’s potential. They are “counterconstructs”… counter-convention, counter-tradition, but not rebellious in the least. They are optimistic constructs, responses to artistic inquiry. Counterconstructs: Modes of Painting. 

we got written up!

Added on by Jourdan.
Just before I left for the summer, I dropped off a piece for the 31'st Annual Montpelier Invitation Sculpture Exhibition at Montpelier Arts Center. I've yet to see the show in person, but I've heard from others that all the work looks really great in the space. There's a nice little write up in the Baltimore Sun that you can read HERE.

This is what they had to say about my piece...
Materials that have been chopped up and recombined in new ways do amount to some sort of cultural commentary. Lauren Frances Moore's "Tower/Plug" is a vertical tower standing about 6 feet high. Its numerous pink-and-yellow layers comprises of narrow bands of fabric, foam and what looks like insulation material. Although the column shape obviously has an architectural quality, the many colorful bands also resemble a lofty layer cake that has even more layers than the famous dessert baked on the Chesapeake Bay's Smith Island; indeed, the white layer on top seems like icing on the cake.
this is what I found upon googling "famous dessert baked on the Chesapeake Bay's Smith Island"

so much to see

Added on by Jourdan.
In the few weeks I've been living in Maryland, I've made it into DC (a 20 min drive/metro ride) a few times for some minimal sightseeing and maximal art-seeing. There's so much to see/do in this city, and I'm just getting started! Some highlights include...

Artists in Dialogue 2: Sandile Zulu (right) & Henrique Oliveira (left)
This exhibition deserves a post all to itself. I couldn't be more thrilled to have seen this work. I have been a huge fan of Henrique Oliveira for quite some time and this was the first time I've had the chance to experience one of his incredible installations in person. WOW! Sandile Zulu's work is pretty crazy too (I was unfamiliar with him before this exhibition) and the two of them make for a very dynamic pairing. Bravo!

The Guerrilla Girls Talk Back

Washington Color and Light
I brought Steve to the Corcoran during his visit last weekend specifically to see this exhibition (because he would have loved it) but unfortunately it had come down the day after I saw it!! Bummer!

A. Balasubramaniam: Sk(in)
WHOA - I found this small body of work to be much more interesting/exciting than the 2 solo exhibitions of Kandinsky and Stella's work - also on view at the Phillips Collection.

Dinosaur Hall

Contemporary Charleston 2011: Under the Radar

Added on by Jourdan.
I am so honored to be included in this incredible exhibition... Please check out the 7 other talented artists featured in the show! I've included some installation shots, so you can get a feel for how the gallery space was broken up between the 8 of us. For more info on each artist, please CLICK HERE to see their profiles from the feature in Charleston Magazine, which is serving as the catalog for the show.

and here are the artists in no particular order...

Melinda Mead

Greg Hart

 DH Cooper

Nina Garner

Conrad Guevara


 Rebecca West Fraser

 Alan W. Jackson

Lauren Frances Moore

The artists will be giving lectures on their work on the following Saturdays at 5 pm...

  • July 2: Rebecca West Fraser and Lauren Frances Moore
  • July 9: Conrad Guevara and Melinda Mead
  • July 16: Greg Hart and Alan W. Jackson
  • July 23: Nina Garner and DH Cooper

Flesh In, Flesh Out

Added on by Jourdan.
I recently completed an installation for the Halsey's annual juried student exhibition, Young Contemporaries. I proposed it as one thing, and it kind of turned into a thing of its own. It came to life, despite the fact that upon proposing it, there were many unknowns as to how it was actually going to come together. It was very much an experiment, materially as well as formally, but I'm quite pleased with the results.

 13' x 6' x 4'
made with polyethylene fabric coated with polyurethane, held together with hotglue

The piece is designed to be experienced from both sides. Viewers are invited to step inside, which is the most exciting part, if you ask me!

Many people have been asking me about the nature of the material that I used. It's actually been recycled from a sculpture I made a while back... look familiar?

CLICK HERE to see more photos of this piece

lily kuonen's playntings

Added on by Jourdan.
Roughly two weeks ago I went to see an exhibition of Lily Kuonen's newest work at her spacious home on Bogard St. Lily has been my painting professor this past semester and I'll be taking her again in the Spring for Painting 2. Before I had ever met Lily, I had already thoroughly stalked her website and just knew that she was going to be my kind of prof. Her work intrigued me in a rare way, for it was quite sculptural. So sculptural, in fact, many might argue that it's not even painting at all. But that's what makes Lily's "playntings" so incredibly interesting. Playing with the various properties of painting, she turns the materials of canvas and paint into objects themselves.

Lily says about her work in her artist's statement,

"...I want to activate the potential of all of the elements that make up a painting and combine them with the interaction of the viewer. Wood, canvas, and paint possess the raw invitation to explore beyond the notion of a prescribed painting format. In this process the materials can equalize, so that it is not how one material is on top of the other, but rather how each is related to the other."

Lily's work in this old storefront turned living room turned gallery was really quite dreamy. She transformed the space with her enticing and interactive 3-dimensional work. I especially appreciate her attention to every last little detail. The brunch-timed event was complete with mimosas, pastel-colored pancakes and fixin's, and a handmade guestbook with a neon orange colored pencil to match the ratchet straps featured in several of her playful pieces.

As Lily is new to the Charleston area (though not to the south... she got her MFA at SCAD), I cannot wait to watch how her work develops while she's here. I also look forward to being in her class again next semester! She's great as a professor... unlike most of the studio art faculty at CofC, she really wants to challenge her students to be thinking about their work in a greater context, by assigning readings and giving presentations. And she's full of recommendations when it comes to books to read and/or artists to look at. CofC, or perhaps this city as a whole, needs more artists like Lily.

check out more of her work HERE

new york new york

Added on by Jourdan.
Back in September I made a quick little trip up to NYC. Though I've been to the city several times, this was my first time visiting both the Whitney and the Guggenheim. At the Guggenheim (though they were in-between shows) I couldn't help but feel like I was in a Matthew Barney film. Not normal.

Some highlights included...

Christian Marclay: Festival
at the Whitney

We caught, by chance, the live performance of this Marclay film set to music. It was 30 minutes long and never once boring. I couldn't stop thinking about John Baldessari.