Curated by Ted Decker
In his site-specific installation for the Project Room at Eye Lounge, Cory Slawson references late 1960s Optical Art (Op Art) which uses optical illusions that, when viewed, give the impression of movement, hidden images, flashing and vibration, patterns, or alternatively, of warping or swelling. Slawson conflates this style with personal responses and life experiences and a life-long fascination with the balancing of tension in the liminal space of life and death. This work centers on the cult goddess Santa Muerte (Saint Death). Slawson’s visual production is idea and research driven, visually engaging, and demonstrates increasing technical/formal elements and ability.
New oil paintings by Abbey Messmer
This body of work began as photographs on a night swim in the desert, capturing white flesh suspended in still darkness. At it’s essence, it’s simple and quiet work that has evolved into questions about the unknown, like the deep sea or the void between celestial bodies. What is life, who are we and what is our personal truth. I don’t believe in god but I do believe we have been offered an amazing experience to live on planet earth and through contrast we find momentary understanding. Like Francis Bacon said, “In order for the light to shine so brightly, the darkness must be present.”
This show features textile portraits of three of the Street Gems’ team members – individuals who have known chronic homelessness – and whom I’ve come to know well after working with them for over two years. The work includes intimate embroidery portraiture and large scale pieced textile portraits, the latter being assembled from clothing that was deemed unworthy of distributing to the clients of the Human Services Campus, the largest facility serving people experiencing homelessness in Phoenix. Creating these portraits through arduous but meditative textile techniques reveals individuals in both intimate and grand scale that would otherwise be
unnoticed, even invisible. By using cast-off clothing, and labor intensive techniques to create these portraits, they are naturally imbued with the history of all those that once wore and touched the fabric incorporated in this work – and given form through my own touch. The materials of these faces still carry a collective energy from the broader community – a collective consciousness that one day may gather the will to decide that homelessness in our society is no longer acceptable.
The large scale portraits were supported by the 2014 Arizona Commission on the Arts Artist’s Research and Development Grant.
During the current month, eyelounge founder Greg Esser is restoring the original hand-troweled ceiling in the gallery and in the process bringing part of his studio practice into the gallery for a constantly evolving canvas of found materials, performance, “construction choreography” and installation. Esser has restored a dozen buildings in the Roosevelt Row Artists’ District over the past fifteen years to create new studio and gallery spaces for other artists. eyelounge has hosted exhibits for over 500 artists and will celebrate its fifteen-year anniversary in 2015.
“Esser’s work is what alternative spaces are supposed to be about — ambitious and intuitively correct mixed-media experimentation.” -Steve Rosen, The Denver Post, Feb. 29, 1996
Friday, September 12, 6-9 p.m.
Please also visit Frontal Lobe Gallery on Grand
Group Exhibition CONSUMERISM
Reception on Third Friday 9/19 6pm – 9pm
The Women of Arizona Roller Derby
In the exhibition, Wil Munny presents a series of artworks that display the joy and pains of the sport of roller derby on these Arizona women. The installation is comprised of 18 x 24 prints installed on a mixed medium frame.
Accompanying the photos on wilmunny.com will be a series of first hand account by these and many more women. This exhibit is the standard interactive show with all proceeds of the sales going to the Keep A Breast Foundation in the name of The Women of Arizona Roller Derby.
Wil Munny is a Phoenix-based artist who has exhibited his work nationally. His work was recently included in an exhibition at The 909 Co-Operative for the “Tattoo Stories”.
Be a Part of the Art | The Office of Environmental Responsibility needs YOU!
Bring all found to-go lids to 419 E Roosevelt for sorting, documenting, and sculpture-building. All participating citizens will receive an official TOER sticker and a certificate of authentic artist-collaboration signed by the To-Go Lid Division’s intake specialist, Shirley Jardine.
Post photos of your finds on our Facebook page at: https://www.facebook.com/theofficeofenvironmentalresponsibility?ref_type=bookmark
Elysia Holland Michaelsen
Replan Your Work, Rework Your Plan
Site-specific Installation by Elysia Holland Michaelsen
Curated by Halt Gallery
In Replan Your Work, Rework Your Plan, Elysia Holland Michaelsen explores the expectation of maintaining order among repeated disruptions. Michaelsen developed a strong relationship to the cycle of construction and destruction through the twenty-nine construction projects at her childhood home. Inspired by her relocation to Arizona, Michaelsen documents the dramatic changes in urban development. From the construction projects left incomplete to the vacant lots now supporting high-rise construction, Michaelsen’s installation is a product of her ever-changing environment.
This exhibition of new work confronts the process of aging. McBride is featuring a new series of pastels on paper along with sculpted clay figures. Bodies are portrayed as layered landscapes; similar to the erosion of canyons over periods of time.
“Oblivious to our human yearnings for permanence, the universe is relentlessly wearing down, falling apart, driving itself toward a condition of maximum disorder. ….in the end, you cannot defeat the odds. You might beat the house for a while, but the universe has an infinite supply of time and can outlast any player. And yet, something about the human condition…causes us to tense against this natural progression with anguishing anxiety rather than resting into it with calm acceptance.”
- Alan Lightman
To ward off negative thoughts about her own body, McBride is embracing the aging process. The arrow of time cannot be disputed so the focus has shifted to accepting the beauty and privilege of aging.
secrets and spectacles
Turner G. Davis presents “Secrets and Spectacles”. Using a wide range of mediums and iconography,
Davis depicts a capricious universe and the places where dreams and nightmares intersect with the reality of the physical body.
We Plus Here Over Time
The photographic images in the show We Plus Here Over Time highlight a recent residency to the Italian peninsula. Italy is a land where culture builds upon culture and time layers upon time, with thousand year old cities that have been rebuilt over and over through the millennium. Cities like Venice, Pompeii, Florence, and Rome endure through the trials and tribulations of civilization, conquest, commercial success and collapse, and environmental catastrophes.
In this rebuilding of civilizations and social structures, throughout layers of time and culture and history, humans have yearned to leave their mark on their place, to express their hopes and aspirations, dreams and passions. Some of these methods have changed, others not, but their sentiment still calls out to be heard.