In her new show, The Mind Garden, Sara Lisch creates collages that explore and grow consciousness.
Mary Curtis Ratcliff’s latest show of new works, Casting Shadows is comprised of kinetic and wall-mounted sculptures and features the circular form, a major element of Ratcliff’s work since the early 1970s.
Kathleen King’s recent assemblage and sculpture is comprised of materials gathered from city streets and the waste stream. An Event in the Form of Questions grids and structures evoke the given order from high-rises to prisons. This work challenges viewers to look at abandonment and lack as both material and spiritual conditions, as well as to think about satisfaction, which is linked to consumption and our global climate catastrophe. What do we need?
Jill McLennan’s work moves from local to global focus as she documents the movement of humans and animals around the planet in Migration Altered. McLennan’s paintings address the human impact on the earth through time, traveling back to a place inhabited by indigenous people and looking forward to damaged wetlands being reclaimed by birds.
While rigor and reason shore up Euclid’s logical system of plane geometry, Charlie Milgrim takes a more intuitive approach and renders her own geometric system of the three basic planes—the circle, square, and triangle. In Plane Shapes she creates an association of non-objective paintings and objects in which concentric and eccentric circles—one ordered, one disordered— collide with the linear edges and sharp corners of squares and triangles.
Her sculptural pieces are deliberately ambiguous, a fantastical synthesis of biological imagery that ask the viewer to question whether the form is animal, botanical, or cellular; subtly shifting focus between a sense of familiarity and the otherworldly.
Esperanza’s interest lies in sharing the beauty that she sees through her art.
A current of sound runs through the Submarine of war, of work, of stealth, of humor, submerged, sub-colonial, subliminal, sublime, surging, streaming, sinking and surfacing from our dark waters.
Through a key decision to incorporate the color black as ground, Haywood has produced his most mature body of work to date.
His desires and narratives are given visual form through photography, a medium that is as true and objective as it is malleable and obfuscating.