Marina Brownlow employs disparate materials to construct primordial biological geographies. Stuffed and waxed, her sculpture connects the architecture of the human body with the world of vascular plants and animalistic forms. Wool, flax, burlap, wax and wood are suspended from above, a geotic constellation — isolated beings in search of connection.
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Jane Gordon’s installations are imbued with the utopian ideals and dystopian landscapes of science fiction. Gordon employs a diverse and finely textured blend of materials, from discarded cotton to earthenware, allowing the viewer to walk through unknown territory; a reminder of the incontrovertible beauty of our planet, alongside the increasing erosion of the natural world. Her work traverses a harrowing sphere of futility, while moving us towards levity and hope.
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Alexis Kaminsky’s influences emanate as much from the ethereal as they do from the terrestrial. The ephemeral beauty of New Mexico’s landscape, the modernist architecture of Antoine Predock, and her love and mastery of clay all inform these geometric assemblages. At once intentional and fluid, her configurations embrace and resist the immovability of grids. Layered within her exquisite and precise sculpture is Kaminsky’s perspective on our existence as “encumbered beings, inextricably bound by the contexts that shape our lives.”
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Rita Bard’s capricious humor tests us. A material renegade, Bard’s use of everyday objects, at first glance raw and crude, elegantly draws us into the underside. It is only then that we realize the sagacity of her trick. Her cow with its afterbirth is breaching for connection — suddenly the unutterable is made knowable.
