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    Luxuriant Refuse

    Art fair advisor starts tenure with a contemporary exhibit on reclaimed garbageat Spring's hidden museum

    Tyler Rudick
    Jun 26, 2012 | 5:30 pm
    • Melissa Kepke Grobmyer with work by Adela Andea.
      Photo by Karen Burd
    • Johnston Foster, River Euphrates, 2004, Traffic cones, wood, plastic trash cans,duct tape and Venetian blinds
      Photo by Karen Burd
    • Artist Gwyneth Leech stands with her installation of upcycled coffee cups shepainted over a span of several years.
      Photo by Karen Burd
    • Betsabeé Romero, Tire, 2007, Carved rubber truck tire
      Photo by Karen Burd
    • Aurora Robson, Belch (aka Tarball), 2009, Discarded PET bottles, tintedpolycrylic, rivets, steel armature and mica powder
      Photo by Karen Burd

    While by no means her curatorial debut, Melissa Grobmyer's new Luxuriant Refuse show at the Pearl Fincher Museum of Fine Arts in Spring marks a highly anticipated first for the noted art consultant and educator.

    Announced in January as one of the primary artistic advisors for the upcoming Houston Fine Art Fair, Grobmyer and her art advisory firm MKG are expected to add a more contemporary edge to the multi-million dollar event when it returns to town Sept. 15 at the Reliant Center. Judging from the lineup for the Pearl Fincher show, prospective fair attendees can plan on a strong showing of prominent national artists with bright pops of Gulf Coast talent.

    "In our culture of consumerism, this idea of reusing detritus in a tra nsformative way was particularly appealing to me when putting together this event."

    As its title suggests, the exhibit is thematically organized around notions of ecology and junk culture, offering up a show of works created with materials like car tires, plastic bottles and swimming pool noodles.

    "In our culture of consumerism, this idea of reusing detritus in a transformative way was particularly appealing to me when putting together this event," Grobmyer told CultureMap on a recent tour. "I was less interested in work that was didactic or preachy, hoping instead to concentrate on more positive views of how art can engage people in issues of sustainability."

    In the foyer sits a full-scale rhinoceros constructed entirely of pilfered traffic cones from the greater New York-New Jersey area. Virgina-based artist Johnston Foster, who creates all of his art from salvaged roadside debris, even went so far as to include pesky little birds, crafting them from discarded venetian blinds and duct-taping them to the rhino's back.

    Stepping into the Pearl Fincher's main gallery, visitors are met with dangling lines of coffee cups delicately hand-painted by Gwyneth Leech, who happened to be at the museum during our tour to explain her work.

    Starting in 2008, she started saving the cups from various appointments she had with friends throughout New York City, labeling each disposable vessel with a date, location and occasion to capture the moment. The cups soon became her favorite artistic surface and by 2011, she had more or less stopped painting on canvas. Most of pieces at the Pearl Fincher were taken from a rather unique residency at the Flatiron Building.

    "I spent five months sitting in a glassed, triangular-shaped storefront . . . That's five days a week drawing on my old coffee cups," the artist laughed. "It's great to see them hanging as fine art now."

    Along the back wall of the gallery space rests an impressive constellations of computer keys by Sarah Frost, whose work appeared at both the Houston Fine Art Fair and the Texas Contemporary show this past fall. Two pieces by Paul Villinski, another popular figure at the fair, are also included in Grobmyer's mix along with intriguing works by New Orleans artist Shawne Major and Betsabeé Romero from Mexico.

    Sponsored by the Houston Fine Art Fair, Luxuriant Refuse​ is on view at the Pearl Fincher Museum in Spring through Aug. 5. Click here for directions and hours.

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    Movie Review

    28 Years Later: The Bone Temple enhances the zombie franchise

    Alex Bentley
    Jan 15, 2026 | 4:30 pm
    Ralph Fiennes in 28 Years Later: The Bone Temple
    Photo by Miya Mizuno
    Ralph Fiennes in 28 Years Later: The Bone Temple.

    It’s not often that a return to a franchise after years of no activity results in an actual good movie, but 2025’s 28 Years Later proved successful by reuniting director Danny Boyle and writer Alex Garland, who made the original 28 Days Later. Another sequel, The Bone Temple, was filmed back-to-back with last year’s film, with Nia DaCosta taking over for Boyle in the directing chair.

    The movie picks up soon after the end of the first film, with the young Spike (Alfie Williams) now an unwilling member of a group called the Jimmies, which are led by a man who calls himself Sir Jimmy Crystal (Jack O’Connell). Unlike the main group in the first film that was just looking to survive the zombie apocalypse, the Jimmies are a bloodthirsty bunch who gleefully attack any zombies they find and brutalize other survivors they come across.

    The story also returns to Dr. Kelson (Ralph Fiennes), whose solitary time at his self-built bone temple is interrupted by a massive zombie he has dubbed Samson (Chi Lewis-Parry). Against the odds — and with the help of some morphine — Kelson is able to bond with Samson, giving Kelson some strange but welcome companionship. But with the Jimmies lurking nearby, any peace he’s found may soon be shattered.

    DaCosta, working from a script by Garland, ably steps into Boyle’s shoes, putting the emphasis on the story rather than trying for lots of stylistic flourishes. That’s not to say that she doesn’t do great work, however. The creepiness and sadistic nature of the Jimmies comes through loud and clear under her direction, and she brings out the campy comedy that comes from the unexpected pairing of Kelson and Samson.

    Like the first 28 Years Later, the story is somewhat of a slow burn. The film doesn’t have many plot developments over its 109 minutes, and so DaCosta must get by on mood rather than action for the most part. But when things do get ramped up, they can get very uncomfortable as the film does not shy away from extreme gore. The damage inflicted by Samson and other zombies is one thing, but when it’s sentient humans going savage, it becomes even more difficult to look at the screen.

    The juxtaposition between the chaos of the Jimmies and the quiet existence of Dr. Kelson works well for the film. Their separation for the bulk of the story gives them plenty of time to have the characters come into their own. Sir Jimmy Crystal is the ringleader, but Jimmy Ink (Erin Kellyman) gets her own showcase. Samson was already a (literally) big presence from the first film, but this film gives him a degree of humanity that gives the story more depth.

    O’Connell made a big impression as the lead vampire in Sinners, and he’s just as interesting/intimidating here. Fiennes plays a character where being over-the-top is the natural reaction, and yet he keeps Kelson grounded in a number of ways that make him much more than one-note. Lewis-Parry was likely cast for his physique, but he brings out more from a zombie than you’d ever expect. Williams fades into the background a bit after his starring role in the first film, but he’s still strong.

    Releasing The Bone Temple in January was not a great sign given the month’s reputation as a dumping ground for bad movies, but it actually proves to be a great choice. With most other releases being Oscar hopefuls or truly awful films, it stands out for being another compelling entry for the franchise, one that will make anticipation high for whenever the third film in the 28 Years Later series comes out.

    ---

    28 Years Later: The Bone Temple opens in theaters on January 16.

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