Ben Snead Ben Snead continues to use frogs, fish, birds, snakes, and various insects, as the fodder of his paintings. previously the compositions were quite literal and often hinted at social constructs and amusing choreography while the most recent paintings have a more abstracted eccentricity that includes partial disappearances into folds as in paper or windows as in computers, mashings, and fragmentation. Two of my favorites are a heap of chopped up purplish frogs against a black ground that looks rather like a car crash or the makings of a dinner, and a hilariously frightening talking head composed of swarming grasshoppers. There is as well a more classical and spacious arrangement of three stacked rows of three, 9 grouper (a fish) heads, all but one oddball face the same direction, and it is a perfect opportunity to observe the wide range of superficial similarities and differences within a species. Same different; different same. There is no way that this fish talk cannot be flipped into the wealth that composes the range of human features. Peace. |
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Sue Gurnee: The Fulgent Cadences | Anonymous Tantra Paintings | Upfront: BILL KOMOSKI |
Jesse Bransford : |
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JESSE BRANSFORD: Telepathy (Karsten/Norma), 2007 |
saturday may 1, 2010 a may day celebration. one night only. 6-8 pm free art, one piece per person. art donated by artists. unconditional love. anyone may give. anyone may have. this is an open call. artists are being asked to donate a work, something to be taken away with no cost. no records will be kept, no check list, no names will be displayed on the walls. not more than 36" in any direction. sculpture must be under 20 lbs. deliver or send to feature to arrive between april 18 and april 30. at a time when everything costs, this is free. |
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Bill Komoski : recent paintings |
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BILL KOMOSKI : 1/15/10, 2010 |
Nathaniel Robinson: Civil Twilight
Civil Twilight is the time of day before sunrise or after sunset when the sun is between the horizon and six degrees below. It is a time when light is increasing or fading and images and objects are not completely discernible. Once can think of this transitional time as a move into or out of the private and into or out of the social. This is quiet work that has a sense of humor. There are a number of castings so while the objects are knowable, they are at least once removed. Color is subdued. Most things have multiple readings. While these things or this world seems old and used, it also offers possibilities. Orientation and reorientation rule. |
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Upfront: JONATHAN HARTSHORN |
Gallery: NATHANIEL ROBINSON |