The artworks in this show are predicated upon a shifting ground. What happens to the substrate and the materials attached to it? Is it a crust that can be built atop or layered beneath? Is it at or round? Does ittorque in space? This shell is a site for reimagining form, for hiding material, or for concealing a different content. Each artist reaches at least one step beyond the surface.
Lucy Kim’s life-casts are repeated and deployed to create a distended ground, onto which color and lightcomplicate our reading. Volumetric representation bristles against painterly allusion within the relief for-mat. Paris also employs molding and casting processes, only his gural homages are cut apart to reveal a geode-like layering of material. Representational form gives way to geological time. Jane Lefarge Hamill’spaintings act as a site for a multivalent experience in virtual reality that extends the logic of the surface, the painterly mark becoming movable fragments that are broken up and reformulated in response to the whims of the viewer. Nichole van Beek balances an intensely packed painting vocabulary with a keenunderstanding of isometric plane to create immersive visual conundrums. Kemar Wynter’s work is culled from the process of cooking – it’s ingredients and time-based experiences – as a referential structure
that guides his use of materials and marks. The substrate becomes a repository for remembered recipe. Clement Valla uses a combination of digital and physical systems to unravel and reconstitute form, the byproducts of which elicit an uncanny sense of fracture and distortion.
Teller, the contemporary magician and illusionist, once said about a particular stage trick “The eye could see the moves, but the mind could not comprehend them.” The surface for all of these artists becomes the starting point for modifying or subverting what is initially seen, enacting an unfolding of form and meaning.