Dates: February 12-April 16, 2015 with an opening reception on February 12 from 6-8pm.
Located at the Dearlove Gallery
640 Bay Road,
Queensbury, NY 12804
Participating Artists Names:
Denise Anderson, Jordan Becker, Michael Bonadio, Anthony Cafritz, and Zac Ward
Inherent Narrative Curatorial Statement
This collection of artist represents different ways of exploring a faceted approach to the investigation of the narrative.
This collection of work in this exhibition embraces a myriad of methods, processes, and approaches to the alchemic use of materiality attempting to journey into story telling and the abstraction of the human condition. These artists, all coming from different loci and orientations, strive to voice and echo deep-courted narratives.
These artists push their own personal limitations and concepts to where they are in fragile, uncommon ground engaging in the attempt to fully speak from a vulnerable and passionate moment. This exhibition is a lens to this collective process shared by all the artists.
Written by Denise Anderson
My art practice embodies the characteristics of a collector, a self-imposed score keeper of cause and effect, and of an artist who embraces the act of inventory as a process of making. All of these preoccupations and interests are the framework from which I develop a body of work. The processes of seeking and acquiring, categorizing and sorting, list making and documentation, are intrinsic elements in my work. As a young child I became acutely aware of my environment, my relationship to my surroundings and the reality of reaction to actions. As a practicing artist today this cognitive awareness is the foundation of my studio practice and the perfect bridge to my earlier fascination of environmental concerns.
Some people say a wood kiln is a time machine that speeds up time for the objects being fired in the kiln. The environment in the kiln erodes, layers, stresses, cracks and begins to break down the pieces. Unloading wood kilns, and spending time with these pieces I have started seeing planets, stars, comets and celestial patterns. This has brought me to a place of explorations in this past years work. Seeing and making these piece have helped me appreciate the systems that exist that allow us to walk around on this fired orb. There is beauty and violence on a scale that our eyes behold everyday, and there is beauty and violence beyond our atmosphere that we cannot see. Im not really sure why I am drawn to this relationship, possibly to find more clarity on what is beauty and what is violence. I feel like the kiln is a window through the atmosphere helping me see further out and bring some ideas back.
My work is inspired and intrigued by images and influences of the past. I appropriate well-known symbols to set up scenes and stories loaded with personal poignant relevance. Often times, drawn towards child-like innocence and wonder, these references become a tool to relate to a broader human experience shared by many, rather than one alone. The first exploration of the new and unexplained is intriguing. The wonder and dissolved mystery that comes with the end of childhood is universal and hopes to appeal to the similarities that exist within one’s spirit and soul.
No two people share the exact same life experiences. Though the stories will differ, there is often a common thread that unites us and allows people to relate on a broader spectrum. The details may not be the same, but the situations are usually similar: everyone has encountered death; heartbreak is inevitable; even absolute joy and the recognition of happiness are emotions shared by people worldwide, despite location and upbringing.
I value the tangible process of creating these tableaus and often have my materials act as vehicles to reference a greater romantic symbolism that is both old world, yet still relevant.
Sculpture has become an expression that has enabled me to productively respond to everyday life. Ideas in forms and color representing reactions I have with life as an artist submerged in the landscape. Boat forms, and shelter like objects have become a recurring theme that describes the historical paths leading to my observations. Sculpture involving the public has always been the reason for my making art. It isn’t always available to make and display work this size but the need festers until one day the idea gets transformed into a sculpture. Displayed for a viewers reaction, interaction, and contemplation. If these sculptures were poems they would be short tasty colorful and stinky prose in every language that resemble my observations of everyday life here in America. Not everyone likes over cooked carrots but some can swallow them, but growing the carrots is the making of sculpture to me. It is our surroundings that create the meat of an idea or a wonderful carrot. This is my sculpture I hope it is not too overcooked.
I have always been so curious of what is not seen; the interworking of things, exploring if there is hidden meaning in everything we touch, see and imagine.
I look for what is not there- ideas, space and beliefs that are always present but never known or fleeting.
What is around us. What we create. The color we see is phenomenal. To combine material and push the temperature of hue and ideas beyond the discernable reach is the origin, drive and underpinning of my efforts as an artist.