ALL OR NOTHING

Opening reception on Saturday, 15th of March from 6:00 - 8:00pm / Conversation with the artists from 4:30 - 6:00

Concept: These six artists are operating on the verge of what they can see and what’s hidden, between what they know and what can’t be articulated. They are balancing on the edge between aha and so what. Nothing remains until the work becomes present. Then what is there is all there is, and it is everything.

THE ARTISTS

Perry Pollock makes works that are usually wall-mounted constructions or small rectangular pieces exhibited on pedestals. They are tight combinations of subtly painted geometric areas of color and simulated materials. (While his works are obviously objects, their dimensionality seems more a deliberate consequence of painted surfaces positioned at different angles than a result of any overt sculptural consideration. His works are physically enigmatic.)

Jason Peot makes both individual objects and installations. In either case his fabrications usually include light. (Its source is often an element of the construction itself or it’s combined with the materials he uses from some outside position passing through or illuminating surfaces and casting shadows in some way. Because of this, the structures he makes are themselves secondary to the visual effects they produce as they extend and activate space.)

Deborah Nance develops imagery through a layering of loose applications of color. These structured areas of softness normally reference some object potentially symbolic in its singleness, but seldom clear enough to be directive and informative.  Her works frequently offer something familiar allowing thoughts to form, but they mostly function as visual traps that curtail mental associations.

Burleigh Kronquist’s images are calculated to both obscure and reveal some structure that is the foundation for his painting activity. He normally uses formatted objects such as Polaroid's and playing cards as templeted surfaces on which to develop his small, elegant rectangles of subtle color. Sally Havlis paints small monochromistic works on canvas or wood and employs them as units in composed combinations. The textural applications of paint with their lateral flatness turn from the face of each unit and extend onto edges requiring to be viewed from all sides. The arrangment of colored units comprising each piece represents  only one fixed relationship available of the many possible configurations. But this mathematical aspect is not the works’ main focus. Rather, it is their luminous  surfaces that dominate and demand inspection.

Ben Dallas utilizes a variety of materials and processes to produce painted wall constructions. These are usually simple, planer structures as foundations for complex combinations of painted patterns and color. His individual pieces force painted surfaces and dimensional structure into a more tightly shared visual context - one where pictorial effects and physicality are actively interdependent.