This summer group show
features mostly large-scale work maximizing our space upstairs....making you
laugh or cry....and whatever might be in-between.
Rebecca Ringquist - Veiled fractured
narratives executed with hand embroidery and machine stitching.
Mark Crisanti - multiples of cast resin
small human figures with bird heads.... one cannot tell if they are flying or
Laurel Roth/Andy Diaz Hope (collaboration) - a
tapestry with imagery of genetically altered animals and plants done in a
European tapestry tradition.
Victoria Fuller - Safety Star... a
Buckminster Fuller-esque starburst made from fluorescent orange street cones.
Jenn Wilson - an epic American
landscape painting of a stag hunt executed in a traditional, yet contemporary
Michael T. Rea - self-portrait sculpture
of the artist as Hans Solo "frozen" in carbonite, complete with tongue-in-cheek bulging
appendage reinforcing the title of the show!
Jud Bergeron - wood tower of letters,
jigsaw cut in the enlarged handwriting of the poet, who wrote the poem the
sculpture is based on.... It is one entire
poem, entitled Second Chances.
Renee McGinnis - a machine-age
interpretation of the Merchandise Mart flanked by McGinnis' new twins as Cupids
flying over a post-apocalyptic topiary Garden of Eden.
Don Cameron - A large oil painting of
digitally-textured aesthetic violence.
Catherine Jacobi - 'Mary' is a skull formed from wood
veneer layers, carved wood and the history of one woman through
her reclaimed documents.
David Hooker - multiple piece ceramic
wall sculpture of a house spewing funny things out of its smokestack....some
hand-done and some from molds.
Doug Smithenry - grid version of Coming
Out Online, in which teens out themselves on YouTube, arranged in the colored
layers of the gay pride rainbow flag.
IN THE LAB: Krista Wortendyke (re):media photographs
most of us have never experienced war, we are surrounded by its imagery. This
project is an exploration in the way that imagery and information from movies,
videogames, the newspaper, and the Internet come together to form our
perception of what war is. Explosions are war's most universal and most
spectacular signifiers. We are never falling short of this imagery. Wortendyke uses these magnetizing images to
show not only how the lines between fiction and non-fiction blur, but also to
show how a mediated experience can become indecipherable from a real