Pictured | Autumn Bounty, Mashiul Chowdhury
On View March 26 – May 8
Opening Reception | March 26 | 6:00p.m. – 8:00 p.m.
Featured Artists:
Hanna Vogel
Mashiul Chowdhury
John Greig Jr.
Coffee Break: Artist Talks Online | May 8 | 10:00 a.m. – 12:00p.m.
ARTISTS
Hanna Vogel, Sculpture & Installation
Kellner Gallery
Vogel creates imaginary landscapes and growths to investigate the effects of entropy on our environments. She transforms the commonplace materials of porcelain, paper, and wire into unfamiliar forms and textures that evoke growth, decay, and the tenuousness of our surroundings. By referencing craft traditions and natural processes of dissolution, her work addresses aspects of existence on the edge of potential destruction. The physical and connotative properties of her materials speak of the possibility of their demise—porcelain lattices defy their structural improbability to reflect their fragility back on the viewer; a wrinkled, skin-like coating of paper is stained and slowly decayed by its rusting steel wire skeleton. Her work asserts the craft-based primacy of the handmade, grounding itself in the physical world on which we all, ultimately, rely.
Mashiul Chowdhury, Drawing & Painting
Tile Room Gallery
Chowdhury is constantly inspired, perplexed, curious, amused, and awed by the elements and stories of things most of us see – and ignore – every day. The activities of human life leave traces on various surfaces sometimes intentionally, sometimes inadvertently – but rarely does anyone realize that such markings contain within them an abstract language that can be rich and compelling. They are remnants of love, of pain, of disgust, of disorder or social or political tensions. His experiences living in crowded but vibrant cities have enabled his consciousness to a greater sensitivity of feelings. An artist must see and feel and understand as opposed to those who merely glimpse but do not really see.
John Greig Jr., Sculpture & Drawing
Book Room Gallery
This body of work of Greig’s work is rooted in architecture, formalism, geology, global warming and a future archeology. There is a balanced conversation between the two materials. One material is cut and built, while the other is poured in and around it. The layered castings bring to mind the slowly formed striations, intombing forgotten cities wave by wave. Fabricated wooden components imply long hidden pieces of modern architecture, a buried future. The organically deposited layers of processed gypsum are joined to the shaped wood pieces, both parts naturally formed and simultaneously manipulated by the human hand. These idealized figures suggest a tale of an upside down world, a place of curious harmony, where the earth and ocean live upon our cities.