Exhibition

Channeling

23 May 2024 – 29 Jun 2024

Regular hours

Thursday
11:00 – 18:00
Friday
11:00 – 18:00
Saturday
11:00 – 18:00
Tuesday
11:00 – 18:00
Wednesday
11:00 – 18:00

Save Event: Channeling1

I've seen this

People who have saved this event:

close

About

Nicelle Beauchene Gallery is pleased to present Channeling, a three-artist exhibition comprising historic works on paper by Madge Gill alongside contemporary paintings and sculpture by Chelsea Culprit and Jennie Jieun Lee.

Nicelle Beauchene Gallery is pleased to present Channeling, a three-artist exhibition comprising historic works on paper by Madge Gill alongside contemporary paintings and sculpture by Chelsea Culprit and Jennie Jieun Lee.

Channeling establishes a conversation among three visionary artists whose practices offer distinct lessons in intuitive world building. Looking to personal, domestic, and material histories as guiding frameworks for making, these artists construct kaleidoscopic compositions rife with individual mythologies and symbols. Gill, Culprit, and Lee understand the body as a vessel for these histories, using art making as a channel for unearthing the past while envisioning alternate realities. In particular, each artist employs a specific language of drawing, printmaking, and collage. Channeling, is, in an expanded sense, an effort to understand the artist as a medium: a spiritual conduit and a forecast for change.

Grounding the exhibition are a suite of ink on paper drawings by Madge Gill (1882–1961) produced during the late 1940s and early 1950s. Gill, who has come to be regarded as one of Britain’s foremost self-taught artists, spent most of her life living and working in the East End of London. She began prodigiously making artwork in 1920 after a series of traumatic health issues; in March of that year, Gill experienced her first ‘inspiration’ — a visitation by a divine entity who became her spirit-guide, known as Myrninerest. Upon this inspiration she immediately began making automatic writings and drawings with India ink, frequently on small postcard size paper, though too on larger scale sheets and rolls of untreated calico. Gill would discuss these works as having been propelled by Myrninerest, and attributed authorship to this psychic figure. Detailed yet quick, Gill’s drawings most often depict the faces of anonymous women, brimmed by hats and coats that melt into densely articulated spaces of architectural fantasy. The mysterious subjects seem equally to be crowded, frenetic portraits of metropolitan life and divine descriptions of a new dimension, heralded by a feminine spirit.

At a much larger scale, Chelsea Culprit toes a similar hallucination with highly saturated, latex house paints and fractal patternation. Culprit’s new paintings operate within, as the artist describes, a ‘drop cloth vernacular’: a process by which the artist moves between the floor and the wall, as layers of stamped lace accrue atop quilt-like fields of bright color. Referencing histories of gendered labor, craft, and folklore, Culprit’s paintings stitch together myriad elements akin to the formation of an exquisite corpse or the process of collage; for Culprit, bodies are always in states of mythic transfiguration. At the center of the gallery, an antique, great spinning wheel merges with a human-size figure in a state of contortion. Culprit’s sculpture upturns the encumbered, colonial imaginary of domestic labor as women’s work; here the figure subverts, and almost becomes one with, the machine—a suggestion of liberated automation, a labored body in a state of transformation.

Transfiguration and collage furthermore preoccupy the sculptural paintings and porcelain busts of Jennie Jieun Lee. Joining the disparate gestures of wood burning, wheel thrown stoneware, slip-cast porcelain, air brushing and oil painting, Lee constructs wall-based, abstract compositions in relief that simultaneously expand and contract with information. Responding intuitively to color and form, Lee’s mixed-media paintings reference the domestic to the digital, each an amalgam of life embedded with the minutiae of the artist’s hand. Akin to Gill’s faces, small-scale, slip-cast porcelain busts carry Lee’s hand in the round: anonymous heads sopped with glaze and molded with apparent disfigurement. The disrupted visages embody an unknowable presence, guardians of chance and perpetual mutability.

What to expect? Toggle

Comments

Have you been to this event? Share your insights and give it a review below.