Lisa Corinne Davis - Terra Incognita
Dec 13, 2013 06:00 PM
Jan 19, 2014 12:00 AM
|Where||324 Ten Eyck St Brooklyn NY 11206|
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December 13 2013 — January 19, 2014*
reception: Friday, December 13th, 6:00--9:00 p.m. *gallery closed: December 28 and 29
324 Ten Eyck St Brooklyn NY 11206 Tel: (917) 714-3813 / STOREFRONTTENEYCK.COM
Terra Incognita brings together the work of four artists who reinterpret notions of landscape. Each is influenced by the transformation of our world by digital technology as well as by the centuries-old tradition of painting.
Lisa Corinne Davis's paintings codify the structure of information
and explore complex relationships of race, culture and history. Central to the idea of the work is that meaning can be read into abstract painting and whatever one reads into the forms can shift in a moment. Form and content merge and meaning is embedded in formal decisions that provide a metaphorical reservoir. Working with the logic of the poet rather than that of a demographer, Davis sets up categories, collects data, codes information and creates graphs and charts to play with place as a geographical, metaphorical and metaphysical concept. Intrinsic to the work is a desire to hone the language of abstract painting to describe the complex state of our contemporary culture.
Central to Kristine Moran's paintings are moments of biotic, supernatural and aesthetic metamorphosis in the elaboration of two salient figures: the mystic and the cycad. The
cycad are among the earliest colonizers of terrestrial habitats, predating palms and
flowering plants by millions of years. They have come to symbolize eternal life, a
counterpoint to the role of flowers in vanitas symbolism. In Moran's most recent works,
painting operates as a complex narrative format. The artist references the takeover of
the cycad by the arcane figure of the mystic--a profoundly ambiguous, shape-shifting
character whose hallucinatory rites, transmutations and spirit-channelling stem from an
unrelenting impulsion toward immortality. Moran's painting wends an allegorical
trajectory through the critical conflicts that characterize today's eco-political and bio-ethics fault lines.
Shane McAdams' work reflects the dueling relationships between natural and synthetic forms--those that look like nature versus those that are nature. In McAdams' work, such forms are often analogs or traces of the methods of their creation. They take root in the physical properties inherent within specific, mundane materials such as Elmer's glue, correction fluid, ballpoint pen ink and resin whose limits are stretched by subjecting them to non-traditional applications. The processes reflect the physical forces that are constantly working to fashion and sculpt the natural landscape. By bracketing them with hand-rendered, "traditional" images of landscape, the artist evokes the duality between the actual and the artificial, forcing the viewer to question what is considered "artificial" in a world where artifice is increasingly the norm and reality is the exception.
Aaron Williams' work combines mass-market imagery and raw construction materials with traditional ideas and strategies of fine art-making. In doing so, he questions commonly held notions of art making as well as the relationship between personal and broadly disseminated imagery. For the pieces in Terra Incognita, Williams borrows from popular geometric patterns, the paintings of Frank Stella and the carpet design from the Overlook Hotel in the film The Shining. He sets within these patterns stock landscape images, depicting such scenes as an idyllic palm tree in the Bahamas and a majestic European peak. Blended together through intricate patterning, these idealized scenes merge into a single environment, calling into question the validity of each individual component and positing the notion that a new, morphed reality is as relevant as its constituent parts. Inherent in this work is a questioning of Williams' own creative history and ideas surrounding painting and abstraction. His work asks if the high-minded ideals contained within abstraction remain relevant when combined with simple, poster print images and building materials. Ultimately, Williams' interest lies in the compounding and collapsing of these arguments, finding the places between concepts to forge new pathways for expression and fresh reasons to introduce marks onto a surface.
About the artists
Over the course of nearly two decades, Lisa Corinne Davis has created a wide range of work--from collage to drawings to paintings and sometimes a mélange of all three--that examines her place in the world, and, by extension, the place of an individual in modern society. Born in Baltimore, Davis received her MFA from Hunter College and currently lives and works in Brooklyn, New York. She has exhibited her work across the United States and is currently represented by Gavin Spanierman in New York. Her work is included in the collections of The Museum of Modern Art in New York, the J. Paul Getty Museum in Los Angeles, The Philadelphia Museum of Art and the Victoria and Albert Museum in London. Lisa's work has been reviewed by The New York Times, Art in America and ArtNews and she is the recipient of numerous awards, including The Louis Comfort Tiffany, a National Endowment for the Arts Visual Artist Fellowship and two New York Foundation for the Arts Visual Arts Fellowships. In addition, Lisa has written several essays on art and culture for the Brooklyn Rail and is an Associate Professor of Art at Hunter College.
Kristine Moran was born in Montreal and now lives and works in Brooklyn. She received her MFA from
Hunter College in 2008. She has shown internationally with exhibitions at Monica De Cardenas Gallery, Milan; Daniel Faria Gallery, Toronto; Museum of Contemporary Canadian Art, Toronto; and Western Exhibitions, Chicago. Her work has been the subject of extensive coverage in numerous contemporary arts periodicals, including Artforum's Critics' Picks and is featured in the recent Phaidon publication Vitamin P2. Kristine recently had her third solo exhibition at the Nicelle Beauchene Gallery in New York City.
Shane McAdams is an artist and writer splitting time between Brooklyn, NY, and Milwaukee, Wisconsin. He received his MFA from the Pratt Institute and has shown his work at Caren Golden Fine Art, Allegra LaViola Gallery, Marlborough Chelsea, Elizabeth Leach Gallery and Janet Kurnatowski. His work has been reviewed in The New York Times, The New York Observer, and The Village Voice. He has taught at the Rhode Island School of Design and Marian University and continues to contribute cultural criticism and art reviews to theBrooklyn Rail and to the blog Bad at Sports.
Aaron Williams was born and raised in Rhode Island and holds a BFA from the Maine College of Art and an MFA from Rutgers University. His work has been exhibited in several venues in New York, including Max Protetch Gallery, Lu Magnus and Mulherin & Pollard. He recently had a solo show at Lamontagne Gallery in Boston and is currently included inPiece Work at the Portland Museum, Portland ME and Work in Progress at Garis & Hahn Gallery, NYC. Williams lives and works in Queens, NY.