The works by these seven distinct artists share an interest in layering, juxtaposition, and creating arresting visual gaps. Visual loops are encouraged. Loops delight. Loops organize the chaotic. The colors and forms pull you in and push you back. Lines curve and bend and cross themselves. Marks lure you into a sense of dimension and then smack you right back to the surface. Landscapes are implied. Worlds are created.
Jessica Simorte makes work with a strong sense of urgency and intuition that allows for a sort of call-and-response for unexpected outcomes, resulting in paintings and drawings that feel both highly considered, and largely instinctual. Christina Macal also aims to achieve a balance between extremes. Her work is at once: complex and simple, clean and messy, finished and unfinished. Max Manning starkly contrasts visual elements that melt together to form images of imperfection. Wesley Berg’s delicate works on paper question flat vs. perspectival space.
Heather den Uijl and Joseph Cowart both use familiar images and rearrange them to the point of abstraction, yet a familiarity with the original source remains. For den Uijl, there is an invitation to grapple with contemporary visual information, but never able to pinpoint its exact source. This resistance to an overarching explanation or conclusion allows the work to be open-ended and oblique, leaving room for interpretation, speculation, and curiosity. Cowart uses source material pulled from National Geographic magazines. The original images may feature familiar surfaces and textures, yet they are cut up to the point of being unrecognizable.
Doug Welsh translates music into abstract paintings on canvas. Each painting is a representation of one song. His work describes the way a particular song makes him feel, and the memories it surfaces.
Following the opening reception, the exhibit will be on display through July 24.
The works by these seven distinct artists share an interest in layering, juxtaposition, and creating arresting visual gaps. Visual loops are encouraged. Loops delight. Loops organize the chaotic. The colors and forms pull you in and push you back. Lines curve and bend and cross themselves. Marks lure you into a sense of dimension and then smack you right back to the surface. Landscapes are implied. Worlds are created.
Jessica Simorte makes work with a strong sense of urgency and intuition that allows for a sort of call-and-response for unexpected outcomes, resulting in paintings and drawings that feel both highly considered, and largely instinctual. Christina Macal also aims to achieve a balance between extremes. Her work is at once: complex and simple, clean and messy, finished and unfinished. Max Manning starkly contrasts visual elements that melt together to form images of imperfection. Wesley Berg’s delicate works on paper question flat vs. perspectival space.
Heather den Uijl and Joseph Cowart both use familiar images and rearrange them to the point of abstraction, yet a familiarity with the original source remains. For den Uijl, there is an invitation to grapple with contemporary visual information, but never able to pinpoint its exact source. This resistance to an overarching explanation or conclusion allows the work to be open-ended and oblique, leaving room for interpretation, speculation, and curiosity. Cowart uses source material pulled from National Geographic magazines. The original images may feature familiar surfaces and textures, yet they are cut up to the point of being unrecognizable.
Doug Welsh translates music into abstract paintings on canvas. Each painting is a representation of one song. His work describes the way a particular song makes him feel, and the memories it surfaces.
Following the opening reception, the exhibit will be on display through July 24.
The works by these seven distinct artists share an interest in layering, juxtaposition, and creating arresting visual gaps. Visual loops are encouraged. Loops delight. Loops organize the chaotic. The colors and forms pull you in and push you back. Lines curve and bend and cross themselves. Marks lure you into a sense of dimension and then smack you right back to the surface. Landscapes are implied. Worlds are created.
Jessica Simorte makes work with a strong sense of urgency and intuition that allows for a sort of call-and-response for unexpected outcomes, resulting in paintings and drawings that feel both highly considered, and largely instinctual. Christina Macal also aims to achieve a balance between extremes. Her work is at once: complex and simple, clean and messy, finished and unfinished. Max Manning starkly contrasts visual elements that melt together to form images of imperfection. Wesley Berg’s delicate works on paper question flat vs. perspectival space.
Heather den Uijl and Joseph Cowart both use familiar images and rearrange them to the point of abstraction, yet a familiarity with the original source remains. For den Uijl, there is an invitation to grapple with contemporary visual information, but never able to pinpoint its exact source. This resistance to an overarching explanation or conclusion allows the work to be open-ended and oblique, leaving room for interpretation, speculation, and curiosity. Cowart uses source material pulled from National Geographic magazines. The original images may feature familiar surfaces and textures, yet they are cut up to the point of being unrecognizable.
Doug Welsh translates music into abstract paintings on canvas. Each painting is a representation of one song. His work describes the way a particular song makes him feel, and the memories it surfaces.
Following the opening reception, the exhibit will be on display through July 24.