The show will run from July 20th - August 18. Gallery hours are on Sunday from 1-6pm or by appointment. Please contact Mitchell Wright at email@example.com or 865-771-0666.
No Kinema Stands Alone
Using the recent resurgence of craft as a springboard, Saira Mclaren and Fran Holstrom bring together eight New York City artists whose work references “the body” and the elusive messages conveyed in gestures, while simultaneously challenging the meaning or common use attributed to their materials.
Presented in pairs, the works converse with one another, making signs, relaying messages and traces of a body once present and now gone. Unexpected material use and an informal DIY aesthetic are king.
Beginning with the body and its long relationship to the vessel, artists Jenny Blumenfield and Keiko Narashi use ceramic as starting point to explore ideas of womanhood, identity and ultimately usefulness and value.
Rejecting conceptions of beauty, Hein Koh and Matt Miller’s work comes from the inside. Their work is visceral, intestinal and gruesome. Their abject aesthetic is pushed so far that it enters over into the beautiful. They are like ancient remains, waiting for their afterlife out of the Canopic Jar.
Reconfiguring reality, Lizzie Wright and Mike Hein make sculptures out of found and constructed materials, which become uncanny vignettes with no defining line between the real and the fabricated. Household items and debris are assembled with sculptural elements in forms that act as totems and makeshifts signs from an anonymous author.
In their own distinctive styles, both Irvin Morazan & Tracy Thomason comment on adornment in popular culture as seen from their perspective. Tracy Thomason uses beauty products, in lieu of paint, teasing out the seriousness of abstract painting. Meanwhile, Irvin Morazan puts urban street culture center stage, wearing chunky sculptural headdresses during elaborately choreographed performances.
*The term kineme was first used (in 1952) by Ray Birdwhistell, an anthropologist who wished to study how people communicate through posture, gesture, stance, and movement, and later popularised during the late 1960s by members of the counter-culture seeking to de-verbalize human communication-Wikipedia
No Kineme Stands Alone sign by Mike Hein.
Tracy Thomason. (Khol Findings 1) or The Face as a Thinning Name, pictured above. (Silhouette 1, Center Extraction) or Jelly Rolling Over Her, pictured below.
Tracy Thomason. (Khol Findings 1) or The Face as a Thinning Name. Mascara on paper. 12 inches x 18 inches. 2012.
Tracy Thomason. (Silhouette 1, Center Extraction) or Jelly Rolling Over Her. Hair gel and vinyl, 18 inches x 18 inches with dimensions variable.
Lizzie Wright (left) and Mike Hein (right).
Lizzie Wright. AH HA. Plywood, paint and colored Christmas lights with fake flowers. 48 inches x 24 inches x 6 inches. 2013.
Mike Hein. Untitled. Found foam, cardboard and acrylic. 27 inches x 9 inches x 8 inches. 2013.
Matt Miller (left) and Hein Koh (right).
Hein Koh. Don't Get Your Panties In A Twist. Dry pigment, pantyhose and polyfil. 22 inches x 24 inches x 8 inches. 2013.
Matt Miller. Untitled. Paint and melted polystyrene. 2012.
Matt Miller, Lizzie Wright and Tracy Thomason.
JennyBlumenfield (right), Tracy Thomason (middle) and Keiko Narahashi (right).
Jenny Blumenfield. She's the Brooding Type. Glazed ceramic. 2013.
Keiko Narahashi. Split Pot. Glazed ceramic. 2013.