Edward Thorp Gallery is pleased to present an exhibition of nine contemporary painters
and one sculptor. The title “Assembly” reflects the various approaches and subjects found
within current art practice.
Each work in the exhibit foregrounds technique and a desire to push their subjects,
sometimes through a conflation of representation and abstraction as with
Allison Evans’ with her ghostly figures emerging from clouds of glossy pink pigment,
suggestions of a shark’s mouth are created with large gestural brushstrokes all creating
situations that are difficult to decipher but are immediately engaging. Branden Koch’s
paintings are also filled with inexplicable narratives of fictional worlds, sumptuously
painted visions that are filled with humor and a sense of foreboding. The folding spaces of
place and time in Mike Olin paintings challenge notions of a single reading and
endeavor to create new archetypes of signification and interpretation.
Some works in the show deploy hybrid methods of production in an active investigation
of process. Drew Beattie’s large scale multi-media paintings question assumptions
about painting as a vocabulary and a genre. In his sculptures, Mark Schubert creates
works that shift between the carefully measured and disorganization while developing
ideas of architectural space and bodily form. David Scher’s works are worlds unto
themselves crafted with muted colors and gestures that are imbued with a Dadaesque
Other works in “Assembly” are produced through a deep investigation of process and
abstraction as with Patrick Berran’s painting method that produces a heady mix of
atmospheric surface with forceful imagery breaking through revealing a tension of the
sublime and the disturbing. Andrew Masullo’s geometric configurations of biomorphic
shapes with a linear lyricism combine to create a graphic dynamism of the symbolic.
Gary Petersen’s reflections on the interaction of pure abstraction and spatial illusion
are at once compositionally forceful yet sensitive to issues regarding the synthetic versus
the natural. The subject matter in Craig Taylor’s work appears, dissolves, and then
reemerges within a narrative of signs and marks, which unfold to tell the story of how
painting is resolved.