"Unnaming of Parts" Exhibition

Blackston

This event has ended.

Philosophy has long been tied to the world of sculpture, often through the exploration of propositions: tension and suspension, truth and falsehood, and earthly versus ethereal dualities. Unnaming of Parts explores these states of being through the idea of contingency. Thirteen artists offer distinct, sometimes lyrical, sometimes rigorous sculptures that explore contingency through structural dependence or a more conceptual reliance of one idea upon another.

Unnaming of Parts, a sculpture exhibition curated by Glynnis McDaris and Rhiannon Kubicka featurs work by Ivin Ballen, Rachel Beach, Edwin Burdis, Andrea Claire, Julia Dault, Tyler Drosdeck, Peter Eide, Frank Haines, Anya Keilar, Paul Kopkau, Rhys Lee, Sam Moyer and Johannes VanDerBeek.

Edwin Burdis's Affection (Run's Out), a formed and lusciously painted, paper sculpture operates on an emotional level through his mark making and choice of material, while also relying upon coins acting as weights to hold the sculpture in an upright, active shape. In contrast, Andrea Claire's stacked blank canvases are imbued with meaning through their introduction of the 'unknown', the classic blank canvas.

The pieces in the exhibition find yet another dialogue in the interplay between one another. These conversations create a new narrative, giving each work an additional perspective through the context of their surroundings.

Johannes Vanderbeek's 'holographic' indian achieves its ghostly appearance through the use of a fine mesh screen that has been delicately, almost wispily, painted. This figure also seems to speak to traditions and mysticism in past cultures while introducing a wholly technological concept, the hologram.

Similarly, Peter Eide finds inspiration in the history of Devils Tower, Wyoming, America's first national monument and a sacred site for numerous American Indian tribes. Instead of (illegitimately) removing rocks from the volcanic land-form, he created site-specific casts from boulders at the monument's summit. These plaster and resin casts reinvent the rocks as beautiful, present day objects while borrowing from Devils Tower's natural, geological and spiritual history. Both pieces explore the cultural and geographic past through the use of new materials.

The show looks to layered dialogues: the subtext, the overt, and the overarching in addition to the quiet, the conversational, and the loud to find the importance and meaning of concept, form, and structure. Experienced together as a whole, a dissonant cohesion forms out of the reverberation between individual works, showcasing the integrity and autonomy of each piece.

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