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Curated by: Kelly Lynn Jones

3153 16th Street
San Francisco, CA 94103
July 16th, 2010 - August 24th, 2010
Opening: July 16th, 2010 7:00 PM - 9:00 PM

Monday to Saturday 12:00 pm to 7:00 pm Sunday 12:00 pm to 6:00 pm
mixed-media, installation, conceptual, pop, modern, sculpture



Curated by Kelly Lynn Jones

Erika Lynne Hanson | Sasha Krieger | Maggie Haas | Hillary Wiedemann

This four-person show explores a spectrum of ways to examine objects both within the art realm and in the everyday.  Each artist employs a conceptual approach to explore our shifting perceptions of actual materials, whether imperfect, familiar, absurd or poetic.  The artists reframe structures and systems we encounter, with a special emphasis on points of failure and weakness, and the possibilities that arise when a system breaks down or changes course.

Erika Lynne Hanson is interested in the points of tension within every structure. Hanson's sculptures and installations emphasize the tension that is created when one is faced with collapse, failure. Her goal is to alter the traditional notion of destruction as a negative and find a cheerful optimism in the change of states.

Through an engagement with past artworks, Sasha Krieger examines the practice, possibilities and challenges of self-reflexivity and the contemporary tendency to make art about art. Her work addresses the role of referencing in acts of creative production as originality, although seemingly impossible, may exist in how we play off and interpret past productions.

In a practice that encompasses drawing and the careful selection of sculptural materials, Maggie Haas looks for moments when the strange and the familiar collide. Working with instantly recognizable building materials and items from the craft store, Haas is interested in the moments where these things waver in a moment of transformation; when wood is a plank and part of a wall, when a drawing oscillates between object and surface.

Hillary Wiedemann's interest lies in the transience of perception, transmission and reception, translation and conception, and in a word, her word, transception. This word has no set definition and can be given only through examples. While some examples are in written form, some are better given through visual experience.  For Wiedemann, Transceptions exist in the exploration of the in-between spaces of experiences, the subtle moments of perception. It is the transfer from the unknown to the known, and the shift back to the unknown. It can be when you are looking and then see, when you are hearing and then listen; the shift from the passive to the active, and sometimes back again.