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Los Angeles

TAG Gallery

Exhibition Detail
Our Shifting Subconscious:
Form vs. Perception
2525 Michigan Avenue
Bergamot Station D-3
Santa Monica, CA 90404

January 31st, 2012 - February 11th, 2012
February 4th, 2012 5:00 PM - 8:00 PM
, David Twamley, Jane Peterson, Ty BowmanDavid Twamley, Jane Peterson, Ty Bowman
santa monica/venice
Tues-Sat 11-5
photography, mixed-media, realism, surrealism, abstract

Our Shifting Subconscious:
Form vs. Perception

Ty Bowman, Jane Peterson, David Twamley
January 31 - February 25, 2011

Opening Reception: Saturday, February 4, 2012 5-8 PM
Artist Panel: Saturday, February 11, 2012,  3 pm

Light Impressions: Four Continents, Ty Bowman

In his current exhibition, Light Impressions: Four Continents, artist-photographer and new TAG member, Ty Bowman blurs the line between perceptions of the natural world and the creative potential of imagination. Distorting form, Bowman manipulates his subjects, transforming them from recognizable objects and foreign locales into images that transcend time. He eases the tension between reality and imagination, uniting the two and igniting our curiosity to approach the world with a more nuanced perception. If words have many connotations, Bowman reveals our reality does as well.

Pith and Vinegar, Jane Peterson

In her upcoming exhibit Pith and Vinegar at TAG Gallery, new TAG artist Jane Peterson hones in on the powerful essences of the Australian Bush. Peterson invokes Jungian-like archetypes and playful animal symbology to explore the palliative effects of these exotic plants.  Like the essences themselves, her concentrated images affect our senses, and we can almost smell them. The palette of bright, bold colors function like diverse flowers in the wild, calling out to be investigated and mined for sustenance.  As we get closer, the question arises: “Is it safe?” - only to discover mini-narratives and curious symbols that jar our subconscious.

New Work, David Twamley

In New Work, David Twamley brings collage smack into the world of abstract-expressionism.  Like Matisse-cutouts dipped in a Miles Davis soundtrack, Twamley infuses his collages with a jazz-fueled improvisational aesthetic. Forms and fields of color are never static, and media is layered to create a textured experience, snapshots of his mind’s landscape. If Schwitters expounds on social mores, Twamley comments on the fluidity of form and perception.

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