In Luminous Catherine Wagner brings together a group of students with whom she has worked at Mills College. Their works formally engage in various degrees with reflectivity, translucency, and whiteness. Each artist explores the multi-functionality of imagery through the absence of color as a way of examining the language of and crossover between abstraction and representation. With varying conceptual concerns spanning individual and collective memory, mechanical alterations of perception, the blurred line between reality and unreality, and how we navigate both natural and constructed worlds, the seemingly disparate questions asked by these six artists are tied together through the formal investigation of ethereal whiteness.
Screens, a new series of photographic works by Jennifer Brandon, finds photographic transformation of window film that is molded and made visible as full, material and substantive bodies. They appear biological and unearthly at once, exposing the material for its natural relationship to photography: simultaneously reflective of and permeable to light.
In a persistent exploration of the immediate and the infinite, Claire Colette works with abstraction and repetitive mark making, in effect deconstructing experiences to explore our shifting interpretations of what is known, what is real, and how we see.
Sandra Ono’s work draws inspiration from biology and physiology, and uses everyday materials to explore the experience of memory and the human body. Using repetitive gestures, Ono’s works amass forms that give physical weight and dimension to different internal states.
Tressa Pack’s series Wanderers in a Sea of Fog investigates notions of the sublime and the contemporary relationship between people and landscape. Presented are three, large-scale, black and white images of pedestrians navigating through the dense San Francisco fog at Ocean Beach.
Christine Remy’s multimedia installations explore light and perception. Remy utilizes technology to create abstract experiences that impart the sense of wonder and quiet contemplation found in the natural world.
Andrew Witrak presents Fabricated Works, a photograph of the artist’s faux catalogue raisonné bathed in white, suggesting an afterlife for an art career. Also presented is Sanibel Island, 1984,offering the fond childhood memory of collecting sand dollars on the beach presented as a pure, uncut drug.