This exhibition presents an array of contemporary mixed
media that comment on society’s mixed messages; works that use
juxtaposition as a visual vocabulary along with video, found objects,
wallpaper, thread, paper, dirt and clay.
Urban life and identity are explored in Cullen Washington Jr.’s No Place Like Home, which uses personal and allusive images eloquently drawn and painted on torn wallpaper. Rich del Rosso’s startling assembled paintings Jesus on my Cell Phone and Big Baby, create pictorial fragmentations and temporal simultaneity, while celebrating the notion that reality is in the eye of the beholder. Hye Yeon Nam’s Suffocation a grid
composed of forty-eight plaster heads with a video projected onto glass
in the center, explores identity and the two cultural spaces that the
artist inhabits: having grown up as a girl in Confucian Korean society
and now living as a foreigner in America.
Hidemi Shimura’s intricate Silent Invader
looks at culture from another angle, using repetition of paper Bar Code
symbols, with colorful embroidery thread and acrylic board, to ask
whether bar codes are a CIA plot or aliens intent on taking over the
world. Julian Lesser’s vocabulary is similar in shape and line, but his use of acrylic, ink, resin, felt and paper mache in Afternoon Garden, Onlooker, and Progress invoke another world entirely, one of lost beauty and abstracted sensuality.
Catherine Henke’s Spirit of the Trees #3 from recycled paper, clay, pigment & dried plants, and Rina Peleg’s Paleo-Tools made
with white earthenware, hammers and broomsticks remind one of
prehistoric artifacts, tools, and weapons found in an archeological
dig. Priscilla Proudwoman Stadler’s The Case and The Scroll
have an unearthed quality as well, using an old steel box filled with
string and paper, and wrapped remnants of died paper and cheesecloth
leaving the viewer to decide if what we contain lives on in spirit, or