February 21 - March 23, 2019
Margaret Evangeline, Christian Faur,
Joanne Leah, Kathleen Mulcahy,
Blanche Nettles Powers, Susan Chrysler White
Kim Foster Gallery is pleased to present a group exhibition titled “VERVE.” On view will be a dynamic 3D work by Susan Chrysler White, a bouquet of crayons by Christian Faur, love letters by Margaret Evangeline, a stiletto narrative by Joanne Leah, the ethereal by Blanche Nettles Powers, and jeweled glass by Kathleen Mulcahy.
Densely layered material speaks metaphorically to the layering of life in Susan Chrysler White’s hanging multicolored piece. The traces seen through the transparency of the material allude to the passage of time, fracturing and rebuilding of connections. Christian Faur recreates what is hidden from our visual perception by replacing the pixel with encaustic crayons. Colorful wax pixels are intricately hand assembled in hexagonal grids to recreate the illusion of peonies in sculptural form. Joanne Leah constructs narratives that takes the viewer on a mysterious trip through her surreal world. Her imagery was inspired by childhood memories, exploring themes of isolation, detachment and identity. Childhood memories inspired the camellia love letter series by Margaret Evangeline. The artist always knew that some day her mother’s garden would be an inspiration. We are built to understand the world through patterns of accidents, traces of memories and coincidences. Blanche Nettles Powers makes ethereal works of indefinable imagery. The surface appears to be an even translucent layer, but in reality is comprised of hundreds of different sized strokes and markings. Kathleen Mulcahy’s work conjures up the catchphrase “diamonds are forever,” but unlike diamonds, glass can be shattered. The work is the embodiment of all that came before, the trial and error, the techniques or invention. as it moves toward the idea of the sublime.
Margaret Evangeline – The Otherness of Objects
March 28 - May 04, 2019
“The Otherness of Objects” at Kim Foster Gallery focuses primarily on Evangeline’s continual and ever expanding use of the camellia motif. For years Evangeline has been consumed by the camellia form and its relationship to her shotgun paintings. In notes prepared for this show Margaret Evangeline writes: “Some of these camellia paintings have the silent intensity of a live hand grenade. For years I’ve been justifying the camellias as relating to my shot paintings by their unfurling from a central knot, like an explosive object. For one thing, when I was young and learning to shoot on my grandfather’s farm, the tin cans he and I targeted were wounded in a way that opened them up to look like plant life. This made sense to me at five years old and I took the objects home for study. The ragged forms seemed to offer a connection to a botanical object’s unfurling. I was not obsessed then but later I felt something numinous in Van Gogh’s “Sunflowers.” I was curious to feel about the same blow to my gut that the shotgun’s kick had to my body. I was fascinated that something disturbing and not pretty could be art. Slowly I began to recognize art as a way of understanding the anxiety I felt around the otherness of objects. The camellia is the organ of a certain genus, a flower, and the hardy southern specimen has a linguistic connection to the wound. It plays a part in developing an aggressive series of flowers. Stigma is the botanical term for the part of the flower that receives pollen. Immediately I think of the mystical stigmata that appeared on certain saints, Saint Francis of Assisi being the first one to bear them and Padre Pio being one of the most recent. Tradition says that their open wounds are signatures formed in response to an overflowing mystical love produced in the world holding together molecules, gravitational waves, space/time, and the stillness around and within everything. If there’s an object that describes the impermanence of time, it is this flower, the camellia, that holds for me the greatest ideational, and psychical perfume unlike any other.”