March 23 - April 29, 2017
Sydney Blum uses the idea of Icarus flying towards the sun as the impetus of her new work. She creates the motion and sensation of flying, distorting colors, lines and shapes in such ways as to produce seemingly contradictory vibrating waves of energy.
Christian Faur’s work deconstructs and transforms. He creates computer systems that convert code into an infinite set of possibilities of color, pattern, and tonality. His unique crayon process suggests element from both high and low culture.
Dan Hernandez creates a world in which mythological and religious iconography coexist with video game imagery. He blurs boundaries, rearranges hierarchies and calls into question our notions of iconography, collectibles and devotion.
D Dominick Lombardi’s series “Tatooed Tokyo” combine the destructive/creative approach of graffiti with the aesthetics of the tattoo. The works consist of a linear design painted over a completed, sometimes abandoned painting. They mark an end of one way of thinking and begin a new path of esthetic release.
Jim Toia manipulates nature. He takes advantage of the way in which mushrooms drop their spores, corralling them to make incredibly complex visual networks of swirling, twisting, and indefinable imagery.
Blanche Nettles Powers’ inspiration is similar, but her outcome is more ethereal. The surface appears to be an even translucent layer, but in reality is comprised of hundreds of different sized strokes and markings.
Moon Beom’s paintings conjure a mystical world of mountains, cliffs, rivers, and forests that materialize from complex abstractions. This world could be anywhere between welcoming and treacherous.
Margaret Evangeline’s paintings are a result of devotion to the vulnerabilities of the discovery process, of finding one’s way to significant content through maintaining a stance of openness to failure.