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ÂŠ Green Chalk Contemporary | All Rights Reserved The Awakening Exhibition runs from February 10-26, 2017 Opening reception is February 10, 2017 5 pm - 8 pm www.greenchalkcontemporary.com
Sharron Antholt Kim Campbell Peter Charles Kayhan Ghodsi Peter Hiers Logan Norton Robin V. Robinson Lisa Solomon Robin Ward
AWAKENING ARTISTS REACT TO THE NEW ERA IN WASHINGTON
At first glance, this exhibition appears to be a collection of artwork communicating a deep sense of personal expression. However, on closer examination, AWAKENING reveals an uncertain public. In the wake of the deeply divisive 2016 elections, we are now confronted with puzzling discrepancies in Washington that will inevitably affect our country, culture and society in unexpected ways. Our time is reminiscent of a Haruki Murakami novel, in which a young woman enters a parallel existence called 1Q84: ‘Q' is for ‘question mark.’ It is a parallel world of questions. In 2017, we have collectively entered a parallel existence with many unanswered questions. In AWAKENING, it is our hope that viewers discover many answers from many artists, leading ultimately to answers of their own. Gail Enns Curator, 2017
SHARRON ANTHOLT Sharron Antholt is a mixed media artist and painter. She is interested in the experimental, inventive, and physical process of making art and in exploring the relationship of this process to the interconnected ideas of memory, time and place. Following recent events in her life and in the country, her mood and expression has shifted; this is made plain by the title of her oil on wood painting DARK TIMES. She says, â€œThe morning after Trump was elected I drove my husband to the hospital for a cancer treatment. He died three days later. My world changed with stark finality. All the things I took for granted - gone. I think the return of light in my life will be completely up to me. And the return of right in our world will be completely up to us.â€?
Dark Times, oil on wood, 6" X 6"
Annie Buckley's multidisciplinary practice embraces digital media, photography, collage, fiction, criticism, curation, and collaborative, participatory, and community-based art with an emphasis on art and social justice. The unique collage LETTERS FROM MAJD EL KuRuM is based on her experence staying with a family in a Palestinian village and the correspondence that followed. It considers the joy, stretch, and tumult of communication between humans, cultures, and nations. It is part of a series made up of layering photographs, sketches and notes from journal pages, and handwritten and typed letters via digital and handmade collage processes. Buckley states “When news of the election broke, I felt — like so many others — lost, disoriented, angry, sad, and confused.” She adds,“Everything about him was antithetical to the place I called home, to the country I thought I knew, and then I thought of that dusty village lined with ancient olive trees and the people I met there and how this would affect them.”
Letters from Majd el Kurum mixed media on paper 29" X 39" | 30" X 40"
KIM CAMPBELL Artist Kim Campbellâ€™s works include oil on canvas, works on metal and encaustics. Based in Carmel-by-the-Sea, she is inspired by the natural world, organic materials, the cycles and changes of the earth, and the elements that connect us as humans. Her works mirror not only our shared human existence, but also our current environment. Kim Campbell's painting WINTER OF OuR DISCONTENT expresses her relationship with the natural and social/political spheres, their destruction, and undoing. She notes, â€œIt mirrors the emptiness I feel. It is a guttural cry of grief for us, our ancestors - for all of humanity."
Winter of our Discontent oil on panel 48" X 48"
Artist Kristin Casaletto of Augusta, Georgia, contributes TOO BIG TO FAIL to the show, an image of the American flag made of locusts suspended in pigmented wax. She remarks, “People assume a large, strong nation-state cannot fail, so some begin to consider self-interest – economics – rather than the good of the whole as the basis for voting. yet history shows the demise of strongholds is conceivable, even probable.” Kristin Casaletto's work often investigates accumulation as a metaphor. In this piece, the nation forms as locusts accumulate. “Locusts are agile and a source of strength; they were sustenance to some Great Plains Native Americans,” she says. “But they are also the age-old symbol of plague-scale destruction. The actions of individual citizens will matter deeply in the coming times.”
Too Big to Fail Locusts on encaustic pane| 18 1/2" X 35"
PETER CHARLES Peter Charles transitions through a myriad of materials and mediums with the ease of an experienced and exceptionally creative artist. Whether his tool is a chisel or paintbrush, the common thread is a synergism between two and three dimensions. “I never consider myself only a sculptor. I look for ways to combine sculpture and painting. Everything is integrated, always intermixed,” he says. Based in San Luis Obispo, California, Charles distills complex sensations and relationships. When he uses an element from nature, he alters, distorts and abstracts its shape to emphasize its essential character. About his work TWISTED COLuMN, Charles states "The Twisted Column might symbolize a distorted/contorted Washington Monument… A comment on lies and distortions of truth and fact.”
Twisted Column twist steel 8" X 72"
Jamie Dagdigian is an artist and designer currently living and working on the Monterey Peninsula. He is an instructor and the Art Department Chairman at Monterey Peninsula College and has been creating mixedmedia work while teaching both art and design. His work RITE – WRITE – RIGHT is a meditation on what we stand to gain and what we stand to lose if we allow ourselves to be led by our emotions. He states,“As events unfolded through November’s election cycle, I became fascinated by the swell of emotional patriotism I witnessed and the willingness of so many to act directly against their own self-interest,” adding “The process and result of the election reminded me that there is often a cost for allowing emotion to triumph over reason.”
Rite Wright Right mixed media 36" X 28"
kayhan Ghodsi Kayhan Ghodsi is an artist and spiritual teacher. A native of Tehran, Ghodsi first trained as a filmmaker in Paris and San Francisco. Based in Sand City on theMonterey Peninsula, he came to the united States as a student in1978, shortly before the Iranian Revolution of 1979. Ghodsi now works in both photography and in Farsi calligraphy. He believes an artist’s job is “to express oneself. If you break that down into two words, it means to push out. It’s like any relationship: you see a side of yourself you had not known existed.” His calligraphy PREAMBLE is a visual interpretation of the Preamble of the Constitution of the united States of America written in the national language of Iran. It is a reflection on contemporary issues of identity politics and immigration, asking immediate questions about what it means to be a “real” American.
Preamble ink on handmade paper 36" X 72"
Carmel artist Susan Hyde Greene’s mended images relay invisible stories from impressions of things seen, heard, and thought. Her process involves taking apart and binding together photographs with stitching, graphite, paint and language. HOPE reflects Greene’s despair as she slowly wakens to this terrible new world. She laments, ”All I can think to do at this moment is hope. Hope that our country is stronger than one man, hope that I might effect even the smallest contribution to make one life better. Hope that art will continue to speak the truth. Hope that we will have the courage and the ability to fight to assure basic human rights for all humanity, securing a future for succeeding generations.”
Hope stitched pigment print, triptych each panel, mended 17" X 22"
PETER HIERS Monterey-based sculptor Peter Hiers observes cultural patterns in human behavior as well as the rhythmic patterns of nature. His work combines both social commentary and a respect for the language of natural forms. He is especially fascinated with the social, political and economic benefits and costs of the American Dream, which he summarizes as the pursuit of fulfillment through acquiring “more, bigger, better, quicker, faster, easier, newer, shinier, for me now.” Questions about these cultural values and their impacts are interwoven into the textures and forms of his work. Peter Heirs’ rubber and steel work BOuND reflects the importance of these impacts as well as his personal response to contemporary politics.
Bound found tire fragments, plated steel 19.5" X 18" X 13" deep
Based in Washington, DC, painter Anne Marchand is drawn to images that open the viewer to questions about personal experience, consciousness and transformation. In her work SPACE FOR LOVE, she uses the circle, a mathematical symbol, to symbolize a sacred space, and the color blue to express faith, truth and the emotions. For Anne Marchand, this election confirmed the need to plunge deeply into the humanity that connects us all. She states, “After the election I felt as I did after 9/11 - defenseless and powerless” but adds “I rallied finally by declaring to myself that right action is a necessary move forward in these times.”
Space of Love Mixed media on canvas 30" X 40"
LOGAN NORTON Following the events of 2016, photographer Logan Norton poses a good number of questions. How did we get here? Where are we really? What is this divide that so starkly separates what many have previously thought united? What is next after this most divisive and volatile of years? The manner in which we answer these questions will determine the course of American history. Is this time unique? One of the ways we will develop an understanding of this period is through the art we make in response to it. Logan Norton participates in this narrative by documenting the world as he sees it. He searches for the moments that are easily ignored, the things that are uncomfortable, and records them with an honest eye. He resists the urge to interpret, determined to allow history to do so from a perspective much greater than our own. Logan's image HERE IS WHATâ€™S NEXT is part of this larger dialogue.
Here is Whatâ€™s Next Archival pigment print 22" X 28" framed
Monterey Peninsula artist Jane Olin manipulates her photographic images with unique toning, soft focus, and photographic chemicals. She embraces creative accidents and instills her work with an intuitive narrative. In DARK MOON MIDNIGHT, Jane Olin expresses her concern about the political climate and about climate change. In her view, the image pushes toward the edge of darkness, expressing feelings of despair. However, she states, â€œEven though it expresses despair, hope is eternal and is expressed by this simple haiku: deep in the inkwell a starâ€?.
Dark Moon Midnight silver gelatin print, edition 1/1 14" X 14"
ROBIN V. ROBINSON The work of Central Coast photographer Robin V. Robinson has always held a dark and light side, laced simultaneously with hope and fear. In her gelatin silver print AT THE WRECK, thousands of baitfish dash about in the iron remains, unaware of the sailors and their destinies. The fish survive by hiding in the wreck’s dark holes. She says, “I contemplate whether we are the sailors or the baitfish.” This image is part of a series that explores the sense of being underwater, literally and metaphorically. Robin V. Robinson creates prints using traditional darkroom techniques, including toning. Her handmade process echoes early photography, when exploration and expression of a changing environment was vital. She observes, “Transformation is happening now and we can survive in a new form, but there is no going back.”
Life Saver, Gelatin Silver Print, Lith process 17" X 11" At the Wreck Gelatin Silver Print, Lith process 11" X 17"
Born in California, with an MFA from Columbia university,Tony Sheeder pursues his interests in propaganda and popular culture through his paintings. On his work DICK CHENEy, Sheeder says, “This is a doubled portrait of former Vice President Dick Cheney. The medium is basically rust on steel and it's a fairly glib joke about duplicity and corrosiveness. It was made at a time when Mr. Cheney was the bête noir of decent people everywhere.” He adds, “It’s alarming that we've elected someone who might actually make Cheney look good. Bête orange is the new bête noir.”
Dick Cheney rust on steel 36" X 24"
LISA SOLOMON Based in Oakland, California, Lisa Solomon is profoundly interested in the idea of hybridization and her works revolve thematically around domesticity, craft and masculinity/femininity. “At one point in history there were women who subversively stitched – treating an act of domesticity as a small protest, giving birth in many ways to the idea that the personal is political.” She adds, “In our current political climate that idea resonates as even truer to me now. Being an artist is subversive.” In her view, living in a digital age, using antiquated’ materials and techniques such as embroidery is, in fact, subversive. “Throughout the election campaign, the talk about immigrants – deporting them, building a wall to keep them out, stopping the influx of one group of them in particular struck a nerve with me. I am the product of a racially mixed marriage. I feel a true solidarity with the 'others' who were called out by the new administration.”
Family embroidery each 8" X 8"
Based in Sand City, California, the multimedia works of sisters Holly and Ashlee Temple explore the effects of time and memory on cultural and personal iconography. Working together, they are currently reflecting on the uncertain status of women in the united States. In EDITH, a vintage image of a smiling woman is blended with layers of mixed media. Sister Holly Temple notes, “At first, the work appears effervescent, but on closer inspection we see how she has been ripped apart and reassembled.” The work reminds the viewer that women must routinely repair the damage of discrimination – patching psychic, spiritual and physical wounds – thereby raising questions of female significance over time. Ashlee Temple adds, “Women adapt to a continually shifting American culture that is sometimes progressive but currently retrograde.” The work ultimately invokes women’s survival and vitality in spite of perennial threats.
Edith mixed media on panel 48" X 48"
ROBIN WARD Photographer Robin Ward creates digital composites layering multiple original images to capture the enigmatic nature of reality, revealing the quirky essence of time, space and intermingling realities. She finds the trajectory of human civilization perplexing, non-linear though cyclical. Reflecting on recent events, she observes â€œMegalomaniacs have risen to power throughout history, undermining delicate moral fabric, instilling fear and amplifying separation.These twists and turns throughout time are shocking, baffling and off-centering.â€? Robin Wardâ€™s work ASCENT acknowledges the bewildering with its dizzying passages and condemnation from the birds perched above. ultimately, however, this piece seeks to express a sense of opportunity for collective change, compassion and centering. Assent composite print on rag paper, 30" X 40"
Time Capsules composite print on rag paper, 17" X 22"
The artist Martin Webb is originally from Britain but is now based in Oakland, California. His work comes from thoughts about people, places, and home; about age, time, and timelessness, permanence and impermanence; about movement, migration, and belonging. People and places are depicted in images and objects that combine simple representations, layered abstractions, and plain-spoken materials.The painting uS MARy CELESTE was made in the transition prior to the inauguration. He states, “It reflects my feeling of the country being a drifting crewless ship at this time.” He adds, “the flock of paper planes is an image I’ve used before, and in this painting seems to represent a chaotic swirl of thoughts, wishes, ideas, or writings, and it remains unclear whether they are flying off the boat or are attacking it.” He says, “I hope that the sculpture HOPE ARK, a dark boat hull topped with a flimsy lookout tower, evokes notions of isolation, dislocation, and even paranoia.” In addition, he believes “maybe it also offers a glimpse of optimism too – perhaps an ark of hope seeking a new land. u.S. Mary Celeste mixed media and wood on panel 36" X 48"
Ark wood, paper, paint, plastic tree 20" X 30" X 8"
Awakening – a collection of works by artists reacting to a new era in Washington.