STAY ASLEEP: Christina West

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PLUG Projects presents Stay Asleep, a solo exhibition by Christina West, in conjunction with the 2016 NCECA Conference.

“As a title, Stay Asleep poetically evokes a harshness of reality by suggesting a reticence to face it—to not wake up. In addition to the figures that lie or lean in passive poses, or struggle over a seemingly simple task in the case of the standing male figure, the exhibition also includes objects that relate to the idea of staying asleep in various, general ways; the numerous pairs of used work boots suggest a repetition of daily commitments that may be hard to face, while the marijuana plants can offer one way of taking the edge off of reality. The objects in the show were chosen additionally as representations of objects that have personal associations with my family upbringing and negatively color many of my childhood memories. Those objects relate to the idea that certain aspects of our histories can lie dormant, or sleep, in our minds, and often are not evident to others. Importantly, those objects have been colored green-screen green, a color that in its typical context is about what will ultimately be edited out—what usually isn’t seen in the final presentation. Similarly, the green objects in Stay Asleep, have connections to parts of my upbringing that are not a part of my publicly shared identity, yet inevitably have formed who I am. ”

Christina West is a sculptor living in Atlanta, GA where she is an Associate Professor of Ceramics at Georgia State University. She earned her MFA from Alfred University in 2006 and since has extensively exhibited her work across the country in venues such as the The Bellevue Arts Museum (Bellevue, WA), The Bemis Center for Contemporary Art (Omaha, NE), Hallwalls Contemporary Art Center (Buffalo, NY), the Zuckerman Museum of Art (Kennesaw, GA) and the Mindy Solomon Gallery (Miami). Additionally, Christina’s work has been supported by grants and fellowships from the New York Foundation for the Arts, The Archie Bray Foundation for Ceramic Arts, the George Sugarman Foundation, and the Southeastern College Art

Things You May Have Missed: David Ford

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PLUG Projects is pleased to present a solo exhibition of the work of David Ford. This exhibition, What You Might Have Missed, will be the first show at PLUG Projects that expands into both of PLUG Projects’ exhibition spaces, the front room gallery as well as the local solo space. What You Might Have Missed includes painting, sculpture, works on paper and interdisciplinary performances from multiple points in Ford’s long-running and multi-faceted career.

Artist and provocateur, Ford, incorporates political, social, and cultural themes into his paintings, sculpture, installations, and performances. Using beauty and humor to draw the viewer into complex situations, he juxtaposes high/low, east/west, serenity/fear into a conversation of twenty-first century interface. His collaborations with non-artist participants include clergy, exotic dancers, demolition derbies, and African-American drill teams.

About David Ford: Critically acclaimed in Art in America, ArtPapers, Flavorpill, and the Village Voice, Ford, born in 1964 in Kansas City, Missouri, comes from many generations of prairie people. His formal education ended when he dropped out of the Jesuit seminary at age fifteen.

A self-taught artist, David Ford has pursued on-site cultural studies in places like Morocco, Guatemala, Cuba, and Turkey. His experimental process continues to layer and explore. A push-pull in his work has remained a constant for twenty-five years. While probing the limits of taste and decorum, he has received awards from the Charlotte Street Foundation, the Tanne Foundation, Art Omi, and Creative Capital.

Lost and Found: Sarah Bostwick, Nuala Clarke, Emily Connell, Ethan Greenbaum, Elana Herzog, Alex Lukas and Daniel Shea

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This show considers the fossils or remnants of the present day, using a wide variety of media including fiber, sculpture, photography and drawing. This exhibition features work that evaluates remnants through a discovery process, as well as work that utilizes found objects and detritus. There is a simultaneous past, present and future established within Lost and Found, as some works are steeped in the history of their past while others are contingent on their future potential. The culmination of these works seeks to ask, what will be left behind for future generations to define us by? Are these remnants an accurate portrayal of our society?

Sarah Bostwick holds a BFA in Printmaking from Rhode Island School of Design and is a 2005 MacDowell Colony Fellow. From 2011-2012, she was a fellow in the Roswell Artist in Residence Program in New Mexico. Her work has been written about in Artforum, Art in America and Art Week. Her work builds three-dimensional drawings about what is in the landscape, but not in our immediate perception. Her latest work focuses on how to communicate found space through three-dimensional drawing. Bostwick’s architecturally driven reliefs can be viewed as totally abstract, or read as familiar locations listed in the title of each

Nuala Clarke lives and works in the west of Ireland in Co Mayo. She was educated at the National College of Art and Design in Dublin, and following graduation she moved to New York City in 1993. In September 2007, she received a fellowship to the Ballinglen Arts Foundation, and began returning to Ireland from New York to work every year. Since 2005 Clarke has been represented by Boltax Gallery in New York. Her work in this exhibition, Street Paper, is an ongoing project, “For six years while walking around New York City I would stop and take a photograph every time I saw a piece of paper with something hand written on it. I would then leave them where they were, perhaps to be found again by the notetaker. Irrisistable, these remnants of thoughts or lists, directions and complaints. This is a work in progress; to be continued when I return to New York.”

Emily Connell is a 2012 Kansas City Art Institute graduate in ceramics and currently lives and works in Kansas City. Her work walks a line between two spiritual extremes and uses a variety of media including ceramics, video, and performance. Using a found “vade mecum” or a book of reference (bible, dictionary, ect.), she covers it page by page in slip. Firing the book in a kiln transforms it into a reliquary shell, containing the ashes of the book within. In this exhibition she has used a masonry-saw to cut cross sections of the ceramic pages. Connell has been published in Ceramics Monthly magazine and was awarded a residency at Anderson Ranch Arts Center.

Ethan Greenbaum is a New York based artist whose work investigates the intersection of photography, sculpture and urban architecture. He regularly exhibits his work nationally in a variety of commercial galleries, nonprofit spaces, museums and sculpture parks. Spaces such as Kansas Gallery; New York; Thierry Goldberg, New York; The Suburban, Chicago; The Aldrich Museum, Connecticut; and Socrates Sculpture Park in Long Island City. His work has been discussed in The New York Times, Modern Painters, Artforum, New American Painters, ArtReview and Saatchi Daily Magazine, among others. Ethan is also a co-founder and editor of The Highlights, an online arts journal devoted to artists’ text based projects and a frequent contributor to Paper Monument. Greenbaum is the recipient of The Robert Blackburn P Fellowship, The Socrates EAF Fellowship, The Edward Albee Foundation Residency and The Barry Schactman Painting Prize. He received an MFA in Painting from Yale School of

Elana Herzog is a mixed media sculptor and installation artist who lives and works in New York City. She has a BA from Bennington College and an MFA from Alfred University. Herzog is the 2012 Fellow of the Saint-Gaudens Memorial which recently mounted a solo exhibition of her work. She has also mounted solo and two-person shows at Lmak Projects, the Daum Museum of Contemporary Art, the Aldrich Museum of Contemporary Art, Smack Mellon, the Herbert F. Johnson Museum, Morgan Lehman Gallery, PPOW Gallery, Diverse Works in Texas, the Zilkha Gallery. Her work has been exhibited internationally at the Reykjavik Art Museum, Konsthalle Goteborg and at Konstahalle Gustavsbergs, and Tegnerforbundet, among other venues. Herzog is the recipient of numerous residencies and awards including the Farpath Foundation Residency in Dijon, France, and the Marie Walsh Sharpe Space Program Residency in Dumbo, New York. Herzog has upcoming residencies from the Josef and Annie Albers Foundation, in 2014, and at Gertrude Contemporary in Melbourne, Australia in 2013. She has been awarded the Anonymous Was A Woman Award, the Louis Comfort Tiffany Award, the NYFA Individual Artist’s Fellowship, the Lillian Elliot Award, the Lambent Fund Fellowship and the Joan Mitchell

Alex Lukas was born in Boston, Massachusetts in 1981 and raised in nearby Cambridge. With a wide range of artistic influences, Lukas creates both highly detailed drawings and intricate ‘zines. His drawings have been exhibited in New York, Boston, Philadelphia, Los Angeles, San Francisco, London, Lima, Stockholm and Copenhagen as well as in the pages of Swindle Quarterly, Proximity Magazine, Dwell Magazine, Juxtapoz, and The New York Times Book Review amongst others. Lukas’ imprint, Cantab Publishing, has released over 40 small books and ‘zines since its inception in 2001. He has lectured at The Rhode Island School of Design, The Maryland Institute College of Art, University of the Arts in Philadelphia and The University of Kansas and has been awarded residencies at the Jentel Foundation, AS220 and The Bemis Center. He is a graduate of the Rhode Island School of Design and recently moved to Chicago, IL after many years in Philadelphia, PA.

Daniel Shea is an artist based in New York City working in the mediums of photography, installation and sculpture. His work explores mythology, fiction and history set against a backdrop of post-industrial ruins and detritus. He published his first monograph, Blisner, Ill. in conjunction with a long-term residency at Columbia College Chicago and a book release at the Museum of Contemporary Photography and is scheduled to release the follow-up book in 2013 through fourteen-nineteen books. He has exhibited recently at The DePaul Art Museum, The Museo de Arte Acarigua-Araure, Venezuela, MDW Art Fair, Andrew Rafacz Gallery, the Moscow Museum of Modern Art, Asia Society in Beijing, and LVL3 Gallery, among others. He does commissioned portraits and stories for international magazines and works as an adjunct professor of photography at The Maryland Institute College of Art. He received his MFA from the University of Illinois at Chicago and is represented by Andrew Rafacz Gallery in Chicago.

Brandon Juhasz “I Can’t Promise to Try”

If you haven’t had a chance to see the current show, check out Brandon Juhasz’ “I Can’t Promise to Try” this Saturday from 10-5.

Today, The Pitch released an article Tracy Abeln wrote on the current show.  

An excerpt from the article includes quotes from the artist himself:

Juhasz used to do a lot of portrait painting and landscape photography but hit his creative stride when he started exploring the pursuit of the ideal: the mundane nature of existence and our desire for the elusive something more. His technique — building objects and scenes by folding photographs appropriated from open-source images (thanks, bountiful Internet) — emerged as a response to America’s homemaking standard-bearer.

“I love Martha Stewart [Living] magazine, the art in it,” he tells me. “The photography is great, especially the older ones. Everything is done with such care. And they make it look like real life, make it look like it’s achievable. But it’s not achievable!”

Replicating those photos led to making things out of the pictures, which in turn led to the more developed narratives on view at Plug: eight inkjet prints, arranged salon-style along one wall, and seven three-dimensional constructs neatly spaced on the other walls or arranged on pedestals. In print and laid out flat or viewed on a screen, the items he chooses — a pepperoni pizza, hunks of meat, the human form — are familiar and simple. But in Juhasz’s dioramas, in person, they take on an eerie personality.

Photography, Juhasz says, amounts to our ultimate death mask: images we hold on to long after their moments have passed, sometimes long after any relevance remains. He enjoys making something that can fool us into accepting it as “real” — real enough to take for granted.


Rare Earth: Andy Brayman, Sarah Hearn, Mike Hein, Leigh Martin, Jason Pickleman, Cecelia Phillips, and Amy Ross

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May 17th marks the opening of Plug Project’s eleventh exhibition titled, Rare Earth. Rare Earth features work that borrows materials and figures from the natural world to reevaluate the nature of nature and examine the many landscapes we all inhabit. Geodes, lichen, wind and water, fungi and fauna explore the possibilities of symbiosis, the interventions of pollution, and imaginatively refigure the terrestrial through painting, photography and sculpture. Considering human mediation into all of the ecologies we encounter,Rare Earth offers viewers new modes of seeing the world around them.

Andy Brayman is most widely known for his ceramic objects. The creation of those objects includes a daily practice of collecting data. The data documents the environment, everything from the shifts in Kansas City weather to the varying level of the Missouri River, which runs behind his Kansas City, Kansas studio. Brayman received a B.A. in sociology, a B.F.A. in ceramics from the University of Kansas and an M.F.A. in ceramics from the New York State College of Ceramic Art at Alfred University. He is a 2011, Charlotte Street Foundation Visual Artist Award Fellow. In 2005, Brayman founded The Matter Factory, a collaborative workspace that’s part artist studio, part laboratory, and part factory.

Sarah Hearn’s work is idea driven by a multitude of scientific theories. “Science is always transforming our idea about world and the reality in which we live. We live in time where science renders humanity as more and more insignificant.” Her lichen installations investigate how humans can collaborate with, understand, and mimic small unassuming forms in nature. Hearn is a native Oklahoman, visual artist, citizen researcher and educator. In 2012, she was selected for a 3-month visiting artist in residence program at Cow House studios in County Wexford, Ireland. Hearn holds a M.F.A. degree in Imaging Arts and Sciences from Rochester Institute of Technology.

Mike Hein’s Pop sculptures represent nature through the use of natural and manmade materials. His cartoonish representations of planks of wood and common houseplants are made from materials such as, found wood, MDF, and acrylic. Found foam is also incorporated in much of Hein’s work. The foam has been washed ashore from the East River where the chemicals present in the river ate away at it, creating vastly different colors and shapes. Mike Hein obtained his M.F.A. in 2002, from Syracuse University -College of Visual and Performing Arts, and in 1998, he received his B.F.A. from Columbus College of Art and Design. Recently, he has had a solo show at Mulherin Pollard in Brooklyn, New York and been a part of several group shows at ADA gallery in Richmond, VA.

Leigh Martin’s fiber installations revolve around the societal deficit of interaction with the natural world. Through the placement of realistic knitted forms in a natural environment, these installations invite viewers to open their eyes to the seemingly mundane, yet wildly complex details in their natural surroundings. In Kansas City, Martin will be installing a site specific installation in the often overlooked alleyway outside of the PLUG Projects gallery. Martin attended Oklahoma State University and graduated in 2007, with a Bachelor of Science in Forestry. She was recently awarded the Curator’s Choice award at the Oklahoma Visual Arts Coalition’s Momentum OKC exhibition. www.

Cecelia Phillips was born and raised in Rochester, NY. She attended the Cleveland Institute of Art where she received her B.F.A. in painting in 2005. Cecelia later moved to Austin, TX to receive her M.F.A. from the University of Texas, which she completed in 2009. She says of painting geodes, “They are worlds within themselves, private galaxies of color and space, and I love to paint them.”

Bridging the gap between fine and commercial art, Jason Pickleman has created a body of work both conceptual and popular, applying media as varied as neon, offset printing, silkscreen, collage and photography. The images he is presenting at PLUG Projects are collages utilizing photos cut from fashion magazines. The models have been removed from the magazine pages; leaving only the background. These images portray a landscape of Earth without humans. Pickleman’s studio, the JNL graphic design, was begun in 1992, and specializes in the creation of graphic ephemera of unique cultural significance. Pickleman was included in the 2007, exhibition Young Chicago at the Art Institute of Chicago, and his work has subsequently been placed into the museum’s permanent collection.

Plug Projects is thrilled to welcome Amy Ross to Kansas City to create a site specific wall painting for Rare Earth. Her painting and collage practice is highly influenced by the hybridization of the natural world. Often in her work she replaces plant and animal parts with the human form. Amy Ross is a Boston-based painter. Prior to attending the School of the Museum of Fine Arts in Boston from 1998 to 2000, she earned a B.A. in Religious Studies from Connecticut College in 1994, and a Master’s in Theological Studies from Harvard Divinity School in 1997.

Wolfgang Laib

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The German artist Wolfgang Laib has been making work since the 70’s. Originally studying to become a doctor, Laib perceived early on that what he wanted to do was more aligned with art rather than science. In one of his interviews he talks about this early life descision:

“What I searched for in medicine and what I couldn’t find, I hope to find with my artworks, with my life. I think that I never changed my profession. I just did what I’m now doing, what I wanted to do as a doctor. But I also feel (and most people think that this is very naive) that art has much more power than medicine. I mean, medicine is very important for us, but it’s just about the physical body, and it doesn’t stretch far beyond that. If art is really good it can include everything. It’s the most important thing. That’s why I became an artist and didn’t become a monk or work as a doctor. Art is most important and therefore I would call myself an artist and what I do art.”

Laib uses materials found in nature such as flower pollen that he himself collects over the summer months, milk, beeswax, marble, rice. An intense material presence is achieved in Laib’s sparse, yet poignant installations, such as beeswax covered rooms, carved-out stone blocks that hold milk and pollen mounds. Laib’s work possesses a monumental quality rare in today’s art. Even on a small scale, as in his Milkstones, the pieces seem huge in what they evoke – a sense of order that is mysterious in its origins  yet somehow palpable, and miraculously present before our eyes and even despite them.

Milkstone, white marble, milk , SIZE: h: 2.4 x w: 10.2 x d: 13 in
The Five Mountains Not to Climb On (Die fünf unbesteigbaren Berge), 1984. Hazelnut pollen, height: approximately 2 3/4 inches.

Chroma Crush: Anne Truitt

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Anne Truitt's 35th Street studio, Washington, DC 2004.

Anne Truitt has always stood out in my mind as having a command over peculiar color. Truitt’s totemic wood sculptures hover on their bases and emit color from the inside out. This is achieved through a laborious process of mixing pigments, application, sanding down, and applying layer after layer in this manner. Pigment settles deeply into the very fiber and grain of the wood. At a certain point the “woodness” falls away and strangely, color takes on an agency of its own, supported by the structure itself. Truitt’s instinct for color and form has led her to attribute certain references to nature, geographic place, time of day, as well as the corresponding qualities of light in titles such as, A Wall for Apricots, Autumn Dryad, and Valley Forge.

Anne Truitt in her Twining Court studio, Washington, DC, 1963.

Anne Truitt began exhibiting her geometric minimalist abstractions in 1961. And in 2009 I visited The Hirshhorn Museum’s exhibition,  “Anne Truitt: Perception and Reflection”  curated by Kristen Hileman. Although the installation and display strategies of the work were problematic and detract from the sculptures, it was a very complete introduction to Truitt’s oevure. The sculptures have a presence that came as a surprise and felt uncanny due to their body-like scale.

The Hirshhorn Museum presents the first major exhibition of Anne Truitt's work since 1974. "Anne Truitt: Perception and Reflection" is a survey of two- and three-dimensional works made during her 50-year career. Please include a copyright credit line with any photograph of Truitt work: Artwork © Estate of Anne Truitt.

Writing in April, 1965, Truitt stated: “What is important to me in not geometrical shape per se, or color per se, but to make a relationship between shape and color which feels to me like my experience. To make what feels to me like reality.” (Private papers.) –Anne

In Anne Truitt, Working, a film by Jem Cohen, Truitt points to a “sickish color” and talks about layering that one under another in order for it to “zoom into being, in order to lift up ten feet into the air.”  (fast forward to 2:14). Cohen sums up Truitt’s endeavors in color as one that is “scientific search and in ways a spiritual search” in an attempt to “set color free in three dimensions.”

Yaddo 2003.


Dramatic Chromatic: Claire Ashley, Color&Color, Kim Eichler-Messmer, Jessica Labatte and Joe Bussell

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Click here to download a pdf document of the press-release.

Dramatic Chromatic is the fifth exhibition at Plug Projects, that brings together undeniably color-centric work of five artists. A wide range of materials and approaches are employed: photography, fibers, painting, sculpture and print media, that together contribute to a demanding and vivid visual experience. Over the span of history we observe color hierarchies falling in and out of vogue both in art and culture as theories of its origins and mechanics evolve. The twentieth century developments in the scientific understanding of the color phenomena allowed artists to focus on its material qualities and roles in image structure, emotional and psychological responses, and design. Further, the acknowledged connection between art and consumer culture generated a shift toward an artificial, saturated palette that has been influential on much of contemporary art. The artists in Dramatic Chromatic have found fresh ways to employ color both intuitively and strategically; resulting in physical, yet culturally framed phenomena that is still rich in possibilities for conveying meaning and creating a deeply satisfying visual experience.

About the artists

Claire Ashley works with color on the surfaces of inflatable sculptures. The inflatables take on the basic form and shape of bags, rectangles or unfolding squares that are presented in interior and exterior spaces. When encountering Ashley’s work, her saccharine palette on these soft shapes creates a satisfying tension between its artificiality and natural contours. The scale of her forms comments on the body’s relationship to architecture and imply a performative element as they breath, adjust, and settle. Societal forces might cram color into the form of easy commodities and collectables, but Ashley’s work pushes against this. Claire Ashley is from Edinburgh, Scotland and has lived and worked in Chicago for almost twenty years. She received a Bachelor of Fine Arts from Gray’s School of Art, Aberdeen, Scotland in 1993, and a Masters of Fine Arts in 1995, from the School of the Art Institute of Chicago. Her work has been shown in the U.S. and Scotland at venues including the MCA-Chicago, The Hyde Park Art Center, Devening Projects, the House of an Art Lover-Glasgow, and the Highland Institute for Contemporary Art in Inverness. She currently teaches at the School of the Art Institute of Chicago in the Department of Contemporary Practices and Department of Painting and Drawing.

Color&Color is a color-centric artist publication that is co-curated and co-edited by Amanda Curreri and Erik Scollon. Color&Color began in 2009, and has produced four issues in both digital and physical formats and is guided by the duality of two thematic colors per issue. This publication intends to be “a mobile venue” which grants viewers “access to new spatial-temporal configurations for the work.” Each issue invites artists to produce new works that address color themes revolving around clever
curatorial frameworks. For the fourth issue C&C will feature Elijah Burgher’s desire-based drawings, address the condition of colorblindness, and examine the “Swedish Red & Green Manifesto that mixes the red of socialism and anarchy with the green of environmentalism.” Plug is thrilled to be debuting their newest issue, C&C#3: Red&Green.

For this exhibition, Kim Eichler-Messmer is debuting an Octodecagon color wheel quilt. Measuring eighty inches in diameter and comprised of 144 hand-dyed cotton sections created from the combination of only six dyes, this piece pushes the boundaries and expectations of the quilt genre. Presenting a systematic understanding of color theory, this work pays homage to its creation and Eichler-Messmer’s masterful understanding of all the variables in the dying process. It builds parallels between the emotional resonance of the color spectrum and the comforting function of this object. Kim received her BFA in Studio Arts from Iowa State University and her MFA from University of Kansas in 2007. She was a resident at Arrowmont Center for Arts and Crafts and has exhibited her work in numerous venues including the John Michael Kohler Arts Center, Columbus Art Museum, and Wonderfair in Lawrence, Kansas. Currently, she serves as assistant professor in the Fibers department at the Kansas City Art Institute.

Jessica Labatte invokes the viewers’ capacity for color by staging playful images that invert our sense of space. She uses a large format camera to capture collaged constructions that manipulate our perceptions and present a sense of mystery through abstract shapes and surface planes. Her formal compositions embody a saturated, material quality that reference trompe l’oiel still-lives and expands the relationship between the viewer and picture plane. These works ask us to reconcile the digital tendencies of photography and realize the potential that is still accessible in the medium’s tradition. Jessica Labatte received her MFA from the School of the Art Institute of Chicago in 2009. Recently, she has been featured in exhibitions that include Jessica Labatte, Golden Gallery (NY), 12×12: Jessica Labatte, Museum of Contemporary Art, Chicago and Always the Young Strangers, Higher Pictures (NY). In the coming year, she will present a solo exhibition at the Chicago Cultural Center.

Joe Bussell preserves the remnants of the painting process by fashioning castoff hunks of hardened acrylic pigments into playful sculptures that echo the structures in his paintings. Sharing structural similarities with biological forms, the two-dimensional works present abstract, lyrical shapes that float in the white space of the paper, creating delicate and seemingly effortless moments of material beauty. The compositions are conceived with a thorough understanding of spatial and color relationships that rely on his intuition and emotional senses. Bussell received his BFA from University of Kansas in 1979, and completed MFAs in Ceramics and Painting from Washington University in 1994. His work is collected nationally and has been featured in numerous exhibitions at venues including the Nerman Museum of Contemporary Art, Galleria Monty e Company in Rome, Kansas City Artists Coalition and the Marji Gallery in Santa Fe. He was the juror’s pick in the publication New American Paintings and received first place at the KCAC River Market Regional Exhibition in 2010 . He currently resides and maintains an active studio practice in Kansas CIty, Kansas.

Abraham McNally

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Abe McNally’s work spans from sculpture to site-specific installation to drawing and photography. With such a varied approach to art-making, one sometimes runs a risk of not speaking in a clear unified voice. Ideas can get canceled out by each other until only empty forms remain. Each of McNally’s pieces continues to break the familiarity of his materials – wooden logs, plaster, concrete, etc. The materials as well as the depicted forms allude to a sense of place, a home or its components. Through a formal reduction strategy focus is brought to the precarious nature of these structures, allowing their fragility and hopefulness to become apparent.

2010 Graphite on paper 18' x 12'
firewood installed in existing cabin Wheelock, Vermont 2010
birch log, charcoal, lace 6" x 6"' x 3'
2008 inkjet print 11" x 14"

Domestic Bliss; the work of Betsy Timmer

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Rag Rug

In the not so distant past, women would spend their days knitting, cleaning, sewing, baking…making, yes…but mostly making for the home.  Betsy Timmer‘s work is very aware of its connection to this feminine history – neither as a victim of it nor its advocate, but using the tools and techniques of this purely domestic existence to communicate a vision for a new kind of “women’s work”. Timmer’s sculptures tend to speak to a kind of tension between a desire to connect her creative impulses and her domestic life, to enable and enrich them both.