What's Bin Did and What's Bin Hid

Gallery 106 Green presents 'What's Bin Did and What's Bin Hid' curated by Ryan Steadman. The opening reception will be on Sunday October 18th from 4 – 7pm, with an after party at The Diamond Bar, 43 Franklin Street, featuring music by DJ erin wtf.

Show will run from October 18th – November 15th, 2009. Gallery hours are on Sunday from 12-6pm or by appointment. Please contact Mitchell Wright at 106green@gmail or 865-771-0666.


Carl Ferrero, Noah Sheldon, Molly Smith, Brent Steen, Michael Zahn, Addie Juell, Roger White, Stacy Fisher, Carlos Jiménez Cahua, Brad Phillips, Josephine Halvorson, Brian Belott

Stripped-down essentialism will never go away and never go out of style. People will always want to get back to the “roots” of something, or “cut the b.s.” and get back to basics. In the folk revolution in London and America in the late 50’s and early 60’s, this attitude was central, at the fore—if only for a short while.

“What’s Bin Did and What’s Bin Hid,” the debut album by Donovan, marked the crest of the folk movement in the U.K. The songs, entirely consisting of acoustic guitar, mouth harp, and voice, are mainly modest interpretations of standards, with a few originals penned by Donovan in which he muses on such everyday trivialities as a car, a watch, and a puppet.

Such things are pregnant with meaning (who made them, how they were made, where they were made and of what materials). The artists in this show amplify the meanings of these types of everyday subjects though the creative act—often, by reducing the object to its essential form, or omitting information so as to leave the image open to interpretation. Some artists like Stacy Fisher and Molly Smith morph objects so that their traits are almost human-like… pushing the concept of an object’s “personality” and how it can connect with its owner. Artists like Michael Zahn and Roger White on the other hand, record everyday things in such a way as to open them up to the history of painted objects. Periods as varied as French Realism and Post-War Abstraction for instance, are illuminated via their relationships to the history of craft and design.

Whether the artists in the show are concerned with personal narrative or social narrative is somewhat irrelevant to this work: they are both intrinsic. Style is also immaterial to their approach—the varied level of realism, subject, or material does not deter from the fact that these artists aim to describe meaningful objects through the filter of their own perception, cognitively breaking down the object to its fundamental parts and rebuilding it as they see fit.

Installation Shots:

Title Wall by Stacy Fisher

Installation Shot

Stacy Fisher. Shelf Life. Fabric, foam, paint, wood and wire. Dimensions variable.

Molly Smith. Slice. Acrylic paint and cut paper. 7.75 x 7.75 inches.

Molly Smith. Flame. Acrylic paint and cut paper. 8.5 x 11 inches.

Carl James Fererro. Radiation 2. Acrylic and watercolor on paper, strings, pins. 30 x 40 inches.

Brian Belott. Untitled (Boombox). Paint on glass with gold frame. 13.5 x 17.5 inches.

Installation Shot

Brent Steen. True Story. Pencil on panel. 36 x 42 inches.

Brad Phillips. Painting Non-Doing. Watercolor on paper. 17 x 13.5 inches.

 

Addie Juell. Mom. Archival pigment prints on Hahnemuhle paper. 22 x 17 inches.

Installation Shot

Roger White. Untitled. Oil on canvas. 54 x 36 inches.

Josephine Halvorson. Fireplace (Soot). Oil on Linen. 19 x 22 inches.

Carl James Fererro. Waves and Radiation. Acrylic on paper, string, pins. 30 x 44 inches.

Michael Zahn. Bucketshop. Acrylic on wood. 60 x 30 x 40 inches.

Installation Shot

Brian Belott. Untitled (Lamp 1) and Untitled (Lamp 2). Pen on Paper. Each 15 x 12 inches.

Carlos Jiménez Cahua. Untitled #5 from Construction series. Archival inkjet print on Epson Luster Paper. 24 x 24 inches.

Brent Steen. Dark Darks, Light Lights. Pencil on panel. 24 x 30 inches.

Roger White. Untitled. Watercolor and colored pencil on paper. 11 x 8.5 inches.

Carlos Jiménez Cahua. Untitled #24 from Lima series. Archival inkjet print on Epson Luster paper.

35 x 44 inches.

Brad Phillips. Pseudonym Painting. Watercolor on paper. 21 x 16 inches.

Addie Juell. #062 Berlin. Archival pigment print on Hahnemuhle paper. 22 x 17 inches.