Liminal Space, Group Exhibition feat. Tracey Adams, Gay Patterson, Debra Ramsay, and Tamar Zinn

FEATURED ARTISTS TRACEY ADAMS GAY PATTERSON DEBRA RAMSAY TAMAR ZINN CURATED BY TRACEY ADAMS

CURATOR'S NOTE Liminal Space honors the memory of Gay Patterson, who passed away last summer, leaving her gentle and artistic legacy for us to appreciate. Liminal, from the Latin root, limen, means “threshold” or “crossing over into space”. It refers to the space between two points, a time of transition, to get things in order before moving on to the next place, one where we have, perhaps transformed. It has a quality of ambiguity or disorientation that occurs in the middle.

Liminal Space has become even more poignant for me as we live in unprecedented times existing in the present, not regretting the past nor focusing on a future we don’t really know. The consequences of this journey become far more positive when we follow this path.

I included the work of Debra Ramsay, Tamar Zinn and myself as our work exemplifies the principles of liminal space, as did Gay’s.

GAY PATTERSON

Gay Patterson made some notes before she died, but was resistant to writing and talking about her work. She scribbled in a note found last summer, “I use art and design to give tangible form to what is commonly a rather abstract understanding of the concept of energy from nature. That concept is a means of transforming that energy into heat and light within a space to display and embody a profound awareness of the power of light.�

Chronos, encaustic on panel with aluminum frame, 60" x 54"

Songlines / Tide Pool, encaustic on panel aluminum frame, 32" X 28"

Ochre Fields - Gold, encaustic on panel, 24" X 24"

Ochre Fields - Green, encaustic on panel, 24" X 24"

Untitled I, pigment, oil and ground on di-bond aluminum, 12" x 12"

Untitled II, pigment, oil and ground on di-bond aluminum, 12" x 12"

Untitled III, pigment, oil and ground on di-bond aluminum, 12" x 12"

Untitled IV, pigment, oil and ground on di-bond aluminum, 12" x 12"

TAMAR ZINN

Tamar Zinn speaks of her drawing practice as breath. She says it is a “choreography of gestures revealing wordless thoughts.” “I begin by working a layer of charcoal into the surface of the paper. Then I pause, waiting for an internal signal before making the first gestural mark, exhale and let my hand lead the way, with no conscious intention intruding on the markmaking.” Tamar’s drawings are intuitive responses to music, creating physical movement as she draws.

At Dawn I’ll Dance #5, charcoal and oil pastel on paper, 22.5" x 18”

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At Dawn I’ll Dance #7, charcoal and oil pastel on paper, 22.5" x 18”

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There is only the dance #27, 15.75” x 10”, charcoal on paper

There is only the dance #28, charcoal on paper, 15.75� x 10�

There is only the dance #31, charcoal on paper, 15.75� x 10�

There is only the dance #38, charcoal on paper, 15.75� x 10�

DEBRA RAMSAY

Debra Ramsay’s artwork investigates color, location and time. She photographs nature and man-made objects within natural sources seen on her walks. In the studio, she uses a computer program to translate the colors in the photos into paint formulas.

Laying the paint on the panel with trowels contributes a sense of time to the work. The viewer sees layers and marks. Light changing within the environment causes the paintings to shift in appearance throughout the day, making one aware of time itself.

Pomegranates, acrylic on polyester resin film, 8" x 32"

Pomegranates & Mushroom, acrylic on polyester resin film, 8" x 34"

TRACEY

ADAMS

Honeysuckle, 7.5 x 39 x .75 inches, acrylic on cast acrylic

Shelf Mushroom, acrylic on polyester resin film, 8" x 32"

Shelf Mushroom 2, acrylic on polyester resin film, 8" x 32"

Snow & Sky, acrylic on polyester resin film, 8" x 34"

Lichen & Mushroom, acrylic on polyester resin film, 8" x 29.5"

Lichen, acrylic on cast acrylic pane, 13" x 30"

TRACEY ADAMS

In many ways, my art is a combination of each of the other artists as I paint by moving pigmented beeswax with special rubberized tools on a hot aluminum surface in an intuitive and dance-like way. The movement over the hot box yields unpredictable lines and marks in a way that echoes my formal study of music and removes the intentionality that planning a piece holds.

Collage is a substantial part of my process, and the pieces created on the hot box are often layered in a puzzle-like fashion to achieve a balanced and desired result. “My best work emerges when there is little thought, only a physical response.�

Feel for the Edge, encaustic, collage and oil on panel, 42" x 42"

All Things are Temporal, encaustic, collage and oil on panel, 36" x 48"

The Sound of Rain Needs No Translation, encaustic an oil on panel, 40" x 30"

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Thoughts Floating like Moths Among the Branches, encaustic and dry pigment on panel, 42" x 48"