MARCH 3 – 27

Opening Reception
Friday, March 5, 6–8:30 pm

Gallery I

Charles Goss
"everything i don't know"

(an improvisatory installation)

 

 

 

 

Materials (sample):

-found artificial flowers from Texas cemeteries
-sausages imbedded in plaster
-fried dimes
-marshmallows
-wintergreen Life Savers

Process (in progress):

I've been working in a studio of one sort or another for close to 40 years. Half of the time I have a distinctly clear direction for the work. The other half is more like a process where I spend a lot of time experimenting, doodling and drawing, making things, mock-ups and models, trying old and new approaches, poking and prodding through many different ideas and materials, searching for a connection of some sort.

As can be expected, there were many failures and plenty of unsolved mysteries. Often I would push aside or shelve a piece for later that was not quite figured out. Eventually so many of those unresolved objects crammed the overflowing shelves of my studio and my mind that I shifted exclusively to mixed/media works on paper, which continued for six years.

But the unfinished pieces on those shelves were always present, whispering, screaming, beckoning to me from their dusty corners to come and work. My decision to look back into these works and ideas, to open them to discovery and resolution has culminated in this exhibition. And even though these pieces are ready to be displayed, I still don't quite know much about them, which is exactly what makes them interesting to me.

During this process I began a daily journal, which has evolved to become a list of all things I do not know. This list has been transformed into a book entitled Everything I Don't Know, Volume 1 , which premieres with the opening of this exhibition.

Gallery II and III

Dianne Lam
"What was in my mind,
What is in my mind"

(A Retrospective)

 

Chat with Dianne on Sat., March 6, from 1-5 pm

 

Interview with the Artist
(In which I interrogate myself while looking both backwards and forwards)

Dianne, what has changed?

My mixed-media abstract paintings, which hovered on the verge  of the figurative, have now become purely abstract.

What has not changed?

My veiled vision of things—seen but not seen, where ambiguity reigns, leaving the viewer's mind free to oscillate between various states: will, memory and perception.

A drive to understand scale: when is large tiny and small monumental?

The tension between the exciting promises in clutter—of line, mass and texture—and deep, reflective space.

 

 

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