“Particle Physical” is an exhibition of eleven gallery artists that create art from an exhausting accumulation of minuscule parts. The exhibition includes paintings by Dan Hernandez and Shigeru Oyatani, assemblages by Jeff Doran, Christian Faur and D. Dominick Lombardi, and drawings by William Brovelli, Paul Glabicki, Blanche Nettles Powers, Diane Samuels, Jim Toia and Susan Chrysler White.
Dan Hernandez blurs boundaries and calls into question our notions of iconography, collectibles, and devotion. His Genesis series is an accumulation of imagery culled from video game graphics and Early Renaissance art. Through the build-up of oil paint, Shigeru Oyatani combines elements of abstraction and representation, pattern and grid, and surface and illusion.
Jeff Doran’s Standing Assembly sculptures are an accumulation of difference in similar parts. Constructed from electrostatic coated welded steel cloth that is twisted and sewn into a variety of pieces of different sizes and assembled at various angles. Christian Faur uses thousands of individually hand cast wax crayons to explore the complexity of the pixel in digital photography. Faur recreates what is hidden from our visual perception by replacing the pixel with crayons. D. Dominick Lombardi uses particles of sand and found objects to constitute the core of his Urchins. His creatures comment on the satisfied consumer filled with cheap and hopeless goods.
William Brovelli’s Timeline series has a specific focus on the progression of the mark. Characters are drawn onto a panel until the image area is filled to capacity. Paul Glabicki’s Order series began with an Internet search of the word “Order.” Each drawing is the artist’s selection and orchestration of hundreds of images drawn from each search. Fascinated by Spanish moss and its iconic relation to the Deep South, Blanche Nettles Powers’ Tillandsia Usneoides (Spanish moss) abstractions are a culmination of numerous months of experimenting with its prolific characteristic. Drawing minute circles with a very fine pen, Diane Samuels spent months “mapping” small sections of her street at a 1:4 scale on handmade Abaca paper. Each Mapping Sampsonia drawing contains over a quarter-million filigree-like circles. Jim Toia’s Web drawings, natural masterpieces of architecture, acknowledge both strength and fragility. Their structures are a magnificent array of microscopic forms. Susan Chrysler White’s pictorial spaces build to a crescendo on the surface, competing for air space, trapped with no exit strategy, all alluding to our relationship with the natural world and the human psyche.