First, a caveat or two. I’m in the show, so I’m likely a bit prejudiced. Also, there were two plays running that night, so it’s possible that not everyone in the crowded gallery and lobby was there for the show. Still, spirits were high with artists, guests and visitors connecting in an animated way.
Katherine Pohlman’s mobile is large at 36 x 36 x 36; it’s also quite ethereal, for a work of that size. The space between each heart, dangling from clear nylon line, allows movement and changing perceptions of the viewer. The copper spiral at the top provides balance, beauty and also references an ancient symbol of life. The fact that each heart contains chickenwire at it’s core is a delicious dichotomy that was intentional.
Angela Sprunger created this as a monoprint. As I’ve mentioned in a past blog, the camera I use is a Canon digital. It’s not meant to take photographs of art and definitely not of art in galleries with specialty lighting. I’ve color-corrected to some extent, but you can tell how unsuccessful I was. The walls are a yellow-tone, not pink. When you view this in person, you’ll be able to see what Ms Sprunger’s work really looks like. She also has a colorful intaglio/screenprint with delicate line-work called “Dive In.” Think of the image above as a teaser.
When you go to the exhibit, don’t miss Debora Miller’s peephole installations. They require a willingness to risk the unknown just to view the two works, because you have to lean in and focus on each one. I was happy to see the step stool underneath so that people of all heights could check them out. I managed to miss the image on the left the first time, because it’s around the corner. While the two don’t tell a complete story, they do broach the topic of what is included in an urban landscape. (Another teaser!)
Ms Miller is generous with her images on her website. She’s also willing to show some vulnerability by documenting and sharing her experiments as well as her completed works. Her series titles are almost as arresting as the works themselves: “Untitled Cleavage/Symmetry,” “Interrupted Sky,” and “Accretion.” Check them out!
This is so frustrating! I can’t begin to show you these three pieces properly. I could color-correct until the cows come home (can you tell I originally hail from Iowa?) yet I won’t be any closer to presenting this accurately. Susan Carlson works with fabulous Japanese tissue paper, folding, inking and manipulating until the multi-layered works find the right mixture of design, color and texture. Each of these pieces has tiny beads (those definitely don’t show up here) that glisten as you move to get closer.
Maria Elisa Lux must be a teacher at heart. (Click on her name and you’ll go to her MNArtists.org gallery.) This is one of three sets of framed pieces she’s exhibiting in the show. In this group, she gives us two beautiful pen and color pencil sketches to show how she works to arrive at her designs. The top sketch shows three hearts in differing color combinations, not obviously connected to this mosaic. The bottom shows the shapes she does finally choose.
Ms Lux is willing to share her process with us. On the sketches she shows notes, swatches of color and a few of the many choices she explores. By including the sketch at the top, she hints at a deeper meaning to the three repeating shapes. The red part of the mosaic is actually glass standing on end. Maybe the deep red is referencing the vitality of a real heart, a mass of corpuscles pulsing within its constraints? As ever, it’s just a guess.
By showing the art of the protegees who are exhibiting in this show, I’m hoping to wet your appetite enough to lure you to the Bloomington Art Center, so you can it see for yourself. What I haven’t shown is any of the mentor’s art. Hee hee! There are 12 more artists not included in these posts and several of them have multiple pieces on display. One includes a ladder. Another has an ape, a turtle and a tree. Yet another has lovely, large blocks you’re actually encouraged to move! So much more waiting for you. Come see!
Until next time… —Chris