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Surface Tension

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Surfacetension
Untitled #7 2008, detail Acrylic on Panel 14 X 11 Inches
Garrido
Cornered in the Meadow Ink on Paper 33 1/8 X 36 3/8 Inches Framed
Garrido
Salvaged Hallway Acrylic on Panel 48 X 96 Inches
Martin
Garnet Albedo I Acrylic on Acrylic 16 X 16 Inches
Martin
Napothe Acrylic on Acrylic 16 X 16 Inches
Martin
Peruviana Acrylic on Acrylic 60 X 24
Niebergall
Untitled Acrylic on Panel 42 X 12 Inches
Niebergall
Untitled Acrylic on Panel 24 X 16 Inches
Niebergall
Untitled Acrylic on Panel 15 X 15 Inches
Niebergall
Untitled Acrylic on Panel 7 X 7 Inches
Niebergall
Untitled Acrylic on Panel 7 X 7 Inches
Niebergall
Untitled Acrylic on Panel 7 X 7 Inches
Niebergall
Untitled Acrylic on Panel 7 X 7 Inches
Niebergall
Untitled Acrylic on Panel 42 X 12 Inches
Peters
Sculpture #1 2009 Acrylic 7.5 X 5 X 5 Inches
Peters
Untitled #2 2006 Acrylic on Aluminum 12 X 12 Inches
Peters
Untitled #7 2008 Acrylic on Panel 14 X 11 Inches
Peters
Untitled #7 2009 Acrylic on Panel 10 X 8 Inches
Peters
Untitled #8 2009 Acrylic on Panel 14 X 11 Inches
Peters
Untitled #10 2009 Acrylic on Panel 12 X 9 Inches
Peters
Untitled #13 2008 Acrylic on Panel 12 X 12 Inches
Surface Tension
Curated by: Chandra Cerrito

480 23rd Street
Oakland, CA 94612-2322
April 3rd, 2009 - May 30th, 2009
Opening: April 3rd, 2009 6:00 PM - 9:00 PM

QUICK FACTS
WEBSITE:  
http://www.chandracerritocontemporary.co...
NEIGHBORHOOD:  
East Bay
EMAIL:  
gallery@chandracerrito.com
PHONE:  
510-260-7494
OPEN HOURS:  
Thursday - Saturday 12 to 6, First Friday until 9pm and by appointment
TAGS:  
contemporaray, abstract, sculpture
COST:  
Free

DESCRIPTION

In some paintings, medium and meaning have a symbiotic relationship, form and content are intertwined.  The canvas or panel resists being a window to elsewhere, and its surface asserts itself as primary.  Surface-oriented paintings and those that rely on deliberately crafted skins can be traced back to the web-like drip paintings of Jackson Pollock, the poured and stained canvases of Morris Louis and Helen Frankenthaler, the restrained flatness of Ellsworth Kelly, the slick surfboard-inspired works of SoCal’s Finish Fetish artists and the material build-ups of Jay DeFeo.  Contemporary artists like James Hayward and Marcus Linnenbrink emphasize the tactile and dimensional qualities of the surface, blurring the line between painting and sculpture.

The four artists featured in Surface Tension explore the possibilities and effects of a painting’s physical presence.  David Allan Peters carves into sedimentary layers of brightly colored acrylic, creating sculptural paintings with craters and crevices in otherwise smooth black or white surfaces.  In small freestanding sculptures constructed of chunks of dried paint layers, he flips the relationship between 2D and 3D.  Christopher Martin experiments with poured, splashed and brushed-on acrylic paint on the reverse sides of glassy acrylic panels.  Determined in large part by the physical properties of the materials, resulting compositions appear to be dynamic flows or frenetic spatters caught in stop-motion. 

Deneane Niebergall’s poured acrylic panels also imply frozen flows, but of a material more viscous, like lava, pancake batter or silly sand.  The fancifully colored idiosyncratic forms recall Dr. Seuss or enticing confections.  In her most recent work, Jen Garrido explores the parameters of flatness.  Complex, non-objective silhouetted shapes at once float above, emerge from and interlock with the surrounding whiteness.  With prolonged viewing, a shape that first appears as thin and graphic as a shadow can optically protrude into dimensional form, like a cutout in a pop-up book, and it can just as suddenly flatten out again.