FOR IMMEDIATE RELEASE
Through December 16, 2006
Closing party: Sunday, December 17, 12-2pm
Cal Poly Pomona, W. Keith & Janet Kellogg University Art Gallery
3801 W. Temple Ave., Pomona 91768
Contact: Patrick Merrill, Director
(909) 869-4301, fax (909) 869-4939
Web site, http://www.csupomona.edu/~kellogg_gallery
Gallery hours, Tuesday Friday, 11am-4pm; Saturday, 12-4pm
Accretion is an installation of site-specific sculpture by seven Los Angeles artists at the W. Keith and Janet Kellogg University Art Gallery at California State Polytechnic University, Pomona. Curated by John O’Brien the artists are David McDonald, Jamison Carter, Rebecca Ripple, Christie Frields, Steve Roden, Jessica Rath
The exhibit will run through Dec 16. The gallery is located in front of the Student Union on the campus of Cal Poly, Pomona. 3801 W. Temple, Pomona, Calif. 91768. Parking is now $5!!! The gallery hours are Tue thru Fri 11 4PM and Sat 12 4PM. A closing party followed by the de-installation will be held on Sunday, December 17 from 12-2PM. The party is open and free to the public.
This exhibition titled "Accretion" deals with art works which are all built up through accumulation. Each artist will be working with an accumulation process that could result in compositing smaller units into forms of sculpture or installation. Other times, the layers might be objects with a less specific historical delineation. As general observers of the everyday, we see how things are built up through accretion and in additive layers. How individuals navigate, organize and situate these groups or piles of things will be at the core of "accretion."
John O’Brien the curator and the artist says that “Accretion” takes its impulse from works as diverse as Kurt Schwitters' Merzkunstwerk ("Merz work of art" - one in which the spectator would be immersed in both time and space), the various architectonic works by El Lissitzky ("Cabinet abstrait," "Prounenraum"), the De Stijl complex known as l'Aubette à Strasbourg (a collaborative effort by Hans Arp, Sophie Taüber, and Theo van Doesburg) and the constructions of Dada-Constructivist Tomoyoshi Murayama, a Japanese national who lived in Berlin during the late-teens and early-twenties.
Christie Frields’ plan is to create a sculpture that "visits" all areas of the exhibition space. Arcing expanses of white PVC pipe will touch down/emerge from small "islands" comprised of shards of drywall. The work is light in feeling and most will experience it by walking underneath an archway. She wants the work to weave throughout the entire gallery, engaging doorways, high ceilings and threading through the black ceiling grid of the rear gallery. The work will interact with all the others in the space, some more directly depending on the cooperation of the artists.
Rebecca Ripple is proposing a work stemming from the idea of fid. “Fid” is generated by the structure of the space between cells. Specifically it references bubbles, but the structure or system is pervasive in the material world. Bubbles form ever changing, unstable structures. “Fid” is formed from the negative space of pushed aside cells. “Fid” is the Latin root for faith, belief and also means division. In her work she challenges the voice imbedding it in matter. She is interested in how language functions within the mind and how the mind relates to both abstraction and physicality.
Steve Roden will present a new work involving collage, drawing, watercolor. a series of small works but all made through the idea of addition not just of lines, forms, actions, but also visible objects (in this case audio speaker images he's collected over time) - and how the imposition of those objects determines next moves. The pieces are presented sequentially, but also as a single unit; creating a connected whole from sequential parts. the work uses a structure rooted in storyboards, comic pages, diaries, adolph gottlieb's early works, etc., where single things become parts in a greater whole due to their surroundings. there is a good chance that he will also present a sculptural work that also acts as a score for a small connected soundwork...
Jessica Rath Jessica Rath is using her accumulation of 15 years of scrap fabric to create a draping garden from the gallery's 14-foot ceilings. The fabrication of textures, colors, shapes will be based loosely on interpretations of her own garden which contains over 75 kinds of annuals, perennials--flowers, plants, vegetables, fruits, trees, bushes, etc. A tumult of color and mass, the installation will have an intriguing visual relationship with the draping grape vine filling the gallery's entryway. A critic insists that in her work Rath’s materials become "partial objects," both holding past use/material value and partially gesturing to something else. They hover there, between materiality and representation.
David McDonald’s “object” or “thing” is metal, corroded, retaining little if anything of its original purpose. The 30-40 foot “scroll” will be tangent to 2 walls and visually bifurcate the East gallery He says the object is like most of "things" that he drives by most days up in Topanga. He is very attracted to these architectural fragments that are pretty hard to identify, In some cases he has no idea what the thing is there for, whether someone started to build something and quit, or if it was part of something bigger, or what. Its this ignorance of what it is combined with the possibility that it had purpose that attracts him to these weathered detritus of urban/suburban construction.
Jamison Carter's Jamison Carter's accretions of wire wrap around a spherical space to create a boundary of breathable structure, permeable by air and eye. Using wire as a linear element similar to the lines created by gesture drawing, the sculpture at a distance oscillates between two and three dimensions. The wire provides no mass to perceive a recognized volume and the space remains flat until the viewer experiences the object within their own personal space. Tie wire, used primarily in concrete and rebar construction, has a variety of industrial applications. Being an industrial material, the connotation of material value is stripped and what is left is the pursuit itself, the creation of a delineated volume with permeable, breathable membranes or boundaries, similar to the idea of the mind, meant to attract on the level of perception.