June 16 - July 29, 2016
Kim Foster Gallery is pleased to announce “Relief,” seven artists that expand on the creative definition of relief. They employ diverse materials and innovative techniques, allowing for experimentation of their chosen medium.
Kwang Young Chun orchestrates thousands of units to produce variations of surface texture and composition. The richly evocative material he uses transcends its tradition. While imbued with Korean nostalgia, Chun’s unique constructions speak on universal levels.
Christian Faur has created a new form of visual perception by replacing pixels with conical objects, hand cast crayons. This expansion of the pixel allows us to see the structure as two and three-dimensional. Depending on your angle, the image is constantly reanimated similar to a hologram.
Will Kurtz create figures out of newspaper, wire and wood that have a distinct emotive quality. He captures a moment from their daily lives. The posture, gestures and facial expressions bring the figures to life. They have a familiarity of someone you might know, capturing their resilience and vulnerability.
Urchins have often been used as sympathetic symbols of the marginalized. D Dominick Lombardi’s “Urchins” draw us in with their formal delights, charm us with their familiar plastic leftovers, and then, without warning, switch to the forgotten state of lost souls, castaways in the sand.
David McQueen’s reliefs are simulacra of a wood floor. But they are ‘Un-settled’. The floor, it seems, is reshaping itself into something else, a graceful rejection of its flatness. Some mistake has occurred. This wood was intended to be a boat. It knew, and that determination was stronger than nails and glue.
Kathleen Mulcahy takes hard materials, glass and steel, and visually transforms them to create the illusion of slow moving water and raindrops. The physical layering of the materials qualify as a relief process.
Antonio Petracca’s painted constructions are reliefs that protrude from the wall. He is interested in establishing the trace of memory, how our perception registers this memory, and how it becomes embedded. The artist crops realistic imagery that contain hints of a particular place, works border on abstraction due to the extreme manner in which they are cropped.