Todd Chilton "Steady"; Alan Wiener "Sculpture"; Bill Komoski, Upfront

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Untitled, 2010 Aqua Resin 8.75 X 11 X 9.25”
Todd Chilton "Steady"; Alan Wiener "Sculpture"; Bill Komoski, Upfront

131 Allen Street
New York, NY 10002
May 30th, 2012 - June 30th, 2012

Summer hours: Tue – Sat 12 – 6
conceptual, figurative, modern, sculpture


Feature Inc. opens three exhibitions on Wednesday 30 May, with a reception on Thursday 31 May 6-8 pm. The walls of the gallery belong to the scintillating pattern paintings of Todd Chilton, while Alan Wiener populates the floor with his poured sculpture. Upfront jostles with a pair of Bill Komoski paintings having unexpected figurative references. The exhibitions continue thru 30­­­ June, Wednesday-Sunday 12-6 pm.

For the past seven or so years, TODD CHILTON has been making intensely colored, personally sized, straightforward, geometric abstract paintings. “I build the paintings by layering hand drawn patterns that are always bounded by the edge of the canvas. The paintings exhibit imperfections that are a result of handmade patterns and geometry. This often heightens optical effects in the patterns, and serves to create a situation in which the viewer becomes aware of the experience of looking. I want to create images that convey at once a sense of ambiguity, purposefulness, and humor. At times they have a sense of openness on one hand and resistance on the other. I am interested in what happens in the middle. Meaning comes through determined imprecision, broken or sagging structures and the obvious hand that created the painting. This underscores the physical experience that takes place between a viewer and my work through surface, scale and optical qualities, which subvert, or sustain, a sense of balance.” Todd Chilton was born in Chula Vista, CA, 1977, attended School of the Art Institute, Chicago for his MFA (2005), and currently lives and works in Chicago. This is his first one-person exhibition with Feature Inc.

ALAN WIENER's small-scaled, multi-leveled sculptures begin as a liquid and end up solid. Their puddled modular forms remind us of that magic. While standing in front of an amazing building or amazing person, I am often fascinated by the very complex and barely knowable process by which they came to be. These sculptures, which often reference both hi-rise buildings and something near t­­­­­­­­­­­o human, play with the recognition of that fascination. As one stoops or bends to zoom in to scrutinize the deceptive building process and its subsequent liquid-to-solid drama, the interior becomes visible and reveals the skeletal network that structures the floors of empty/full chambers. Along the way, notions of inside and outside unsettlingly flip flop. The move from the outer moist flesh to inner dry skeleton parallels the dynamism of micro/macro shifts these sculptures induce, and while pulsing through these experiences, they bless us with a bit of vertigo. Though structurally strong, their scale and materiality renders these creatures vulnerable and somewhat naked. As they stand exposed on their pedestals, their presence amplifies into performance and as such, we are invited to view, examine, dissect, appreciate, is a digestion of sorts. Alan Wiener was born in Philadelphia in 1968, has a MFA from Tyler School of Art, Elkin Park, PA (1993), and lives and works in Brooklyn. He began exhibiting with Feature Inc. in 1998, and this is his third one-person exhibition with the gallery.

Two paintings by BILL KOMOSKI hang Upfront and while both display his abstracted and complexly webbed space that is both geographic and aerial, biological and microscopic, the foreground of each is unexpectedly haunted by a loosely constructed masked personality reveling in its mixed messages.