Matter

Date: 
Thursday, September 6, 2012 to Friday, October 5, 2012
Is this news or an event?: 
Event
The Cazenovia College Art Gallery in Reisman Hall presents Matter: A group exhibition of two and three dimensional abstract works, running Thursday, Sept. 6 through Friday, Oct. 5.  An artist’s reception and lecture will be held in the gallery on Sept. 6, from 4 to 5:30 p.m.Shows and receptions are free and open to the public. The gallery is handicapped accessible. Hours during the academic year are: Monday through Thursday, 1-4 p.m. and 7-9 p.m.; Friday, 1-4 p.m.; and Saturday and Sunday, 2-6 p.m. Summer hours vary.
The Artists:

Specimen Series by Diane Brooks, "Specimen" series # 7, paper, glue, threat, hawthorn thorns, each piece approximately 2" X 6"Diane Banks is an associate professor of art at James Madison University.  She received bachelor of fine arts and master of fine arts degrees from Syracuse University, and studied at Elmhurst College, Art Institute of Chicago and Washington University. Her areas of expertise are 2- and 3-dimensional design, sculpture and drawing.

She is a member of the College Arts Association, the National Basketry Association; F.A.T.E.; International Sculpture Center and the American Craft Council. She has received honors and awards from the National Endowment for the Arts Permanent Archive, The Smithsonian, Washington, D.C.; Crafts National 29; Zoller Gallery, Penn State University; a National Endowment For The Arts Grant in Sculpture; and the Jean and Louis Dreyfus/MacDowell Fellow Award.

Banks has been listed in “Who’s Who of American Women,” and has exhibited widely, and conducted many workshops. Her work is in numerous collections, including the Renwick Gallery of the National Museum of American Art, Smithsonian Institution, Washington, D.C., Mint Museum, Charlotte, N.C., and she is affiliated with galleries in Scottsdale, Ariz., Philadelphia, Pa., Cambridge, Mass., and Tacoma, Wash.

In her artist’s statement, she writes, “My current body of work has been inspired by nature’s ability to survive, endure and thrive against all odds.  I am interested in the fragileness of nature and the delicate balance between vulnerability and strength.  I am fascinated how it protects itself from physical harm and the many ways it contorts itself to survive.  The pieces represented in this work focus on the vulnerability of nature, its’ energy and force and how it adapts to overtake the human imprint.”

Beacon Rock, copper wire with patina by Tadashi HashimotoTadashi Hashimoto is an abstract sculptor who resides in Beacon, N.Y.  Currently, he shows his work around the New York City area and Brooklyn. He maintained studios in Greenpoint and Williamsburg for over 25 years.  Hashimoto’s large scale and site-specific outdoor sculptures are in public and private collections nationally and internationally. 

In the 90s, Tadashi traveled from New York City to Poland to build his first ever large-scale site-specific sculpture in the international artist event and exhibition, Construction in Process in Lodz. In 1996, he continued to thrive and transform as a sculptor when he built his sculpture Lightning Episode during the international artists residency known as Art/Omi in Ghent, N.Y.  Hashimoto was an artist-in-residence at Socrates Sculpture Park in 1997 and 1991.  His first one-person abstract sculpture exhibition, in 2004 at Maiden Lane Exhibition Space, 125 Maiden Lane, New York City, was well received and reviewed in Sculpture Magazine.   He has received grants for his sculpture from the Pollock-Krasner Foundation in 2002 and 1991 and the Athena Foundation in 1996 and 1991.  In 2008, Hashimoto was awarded an Individual Support Grant from the Adolph & Esther Gottlieb Foundation, Inc.  His outdoor, public sculptures are in collections internationally and were realized for art exhibitions such as Cambio Constante, Zaragoza, Spain, 2004 and 2002; Construction in Process, Poland, 1991 and 2000; Object Nature, The Centre of Polish Sculpture, Oronsko, Poland, 1998.

Some recent group exhibitions include: Mic: Check (The Human: Mic), January – March, 2012, Sideshow Gallery, Williamsburg, Brooklyn, N.Y.; Your Documents Please, a traveling exhibit including the Museum of Arts and Craft, Itami-shi, Japan 2008-2010; Quad 2, Summer 2009,Vanbrunt Gallery, Beacon, N.Y.  Hashimoto completed a bachelor of fine arts degree in 1981, studying painting at Otis Art Institute in Los Angeles.  He was born in Kanagawa prefecture in Kamakura City, Japan.

Of his work, Hashimoto writes:
"My direction in sculpture is to visualize and create a space that is evocative of a cosmic perspective, one nevertheless gained by meditating on the world around me.  These sculptures, ranging in size from maquettes to site specific outdoor works, employ the familiar qualities of wood, stone or steel- yet the sculptural dynamics suggest mysterious unseen forces at play. 
 
"Observing and wondering about forces in nature fortifies my sculpture.  Especially, experiences in mountains come to mind, with the vastness of landscape and the proximity to the natural elements.  In the north of Spain, I was intrigued by the way the rocky landscape of the mountains of Santa Del Moncayo resembles geometric forms of rectangles and rhomboids.  There, the impact of time is apparent, seen in the layers of rock formations shattered by those above.  As I imagined the moment of stones breaking, I felt nature was teaching me to see forms in space that are inseparable from time and motion.

"I am curious about looking past our everyday assumptions and illusions of physical phenomena.   How does the awareness of forces and energies influencing matter alter our perception of the world around us?  In science, the force of gravity, although most immediate, is still the least understood of the forces.  Why is it that gravitational force, the weakest of the forces, is able to act across vast empty space?

"In my recent works, multiple cube-like forms or curvilinear rhomboids appear to be in freefall, either upward, downward, or possibly frozen at the topmost point of motion.  I have devised methods for stabilizing the blocks in the sculptures, even as they give the appearance of instability.  Time and change are also hinted at in the details of the materials such as the grain of wood, light and shadow, color relations and surface textures.  As I work, I position the blocks to maximize and articulate in-between spaces, interior and exterior areas.  I visualize my material as if it contained another hypothetical space that is being shaped.  This process of focusing on the space during construction is my main interest during this intuitive exploration of paradoxes like weight and weightlessness, calmness and commotion, centered and un-centered.

"The sense of motion in my sculptures is a catalyst that encourages the viewer to kinetically observe.  By becoming physically aware of space; he/she may find wonder in the perceptions of space and mass.  The active onlooker can enter the interior of my large outdoor sculptures and experience myriad views, in, through and outward to the space beyond.

"Ultimately, my sculptures are intended to recapture the feeling and understanding that our terrestrial existence is mysteriously connected to the cosmos.  Leaving the earth’s gravitational field in the 20th century continues to affect the consciousness of the collective mind, my sculpture is about this yearning for externalizing and realizing a greater cosmic relation to space and matter."

Domain by Doreen McCarthyDoreen McCarthy (www.doreenmccarthy.com) lives and works in New York City. She has exhibited widely, and her work is in a number of public collections, and has been in a number of publications.

She writes, “My work is a consequential step of giving form to space and imagination.  The sculptures are about how to change something in a way that keeps the before, after and intervening transformation equally visible. The transformative abilities of art-condensation of materials, context, community and intent-are the core of my art making practice. Perceptions of art can be considered and understood within the milieu of one’s environment and as a paradigm of culture. Specific site projects inform the development of my new sculptures as the history of each place provides context for the image, scale and material within the public or private domain.  My production often appears to present aesthetic oxymorons that occupy both sides of formal and conceptual oppositions such as material versus effect.  I am currently developing sculptures that  continue to circumvent barriers of spatial articulation.  I have worked with non-traditional materials employing corrugated cardboard, inflated plastic, nylon and Plexiglas both in the studio and with the aid of industrial fabricators. I explore scale, building and modeling of objects, translucency and the absence and presence of objecthood. Physically shifting the scale, material and site alters the subjectivity of experience."

Untitled painting by Christopher McEvoyChristopher McEvoy (www.chrismcevoy.com) received his master of fine arts in painting from Boston University. He later spent a year as the Starr Scholar at the Royal Academy of Art in London. He has completed residencies at Vermont Studio Center and the Ragdale Foundation, and has shown his work in London, Boston and New York. McEvoy is currently an assistant professor of art at the State University of New York at Oswego. He lives and works in Oswego, NY.  
He writes, “I create my work out of a desire to explore phenomena of contemporary reality as an intersection of place and cumulative experience. I’m interested in the contrast of presence with the fluid nature of memory. In my recent work, the act of painting documents the struggle between our interior and exterior world, the visceral and personal as it relates to the physicality of our existence. The paintings dwell in the space between abstraction and representation. My work speaks to a condition of indeterminacy, a liminal state in which something is not clearly defined. I strive to adapt enigmatic circumstances and reconcile disparate states by morphing imagery to create a hybrid pictorial reality that serves as a dialogue between the intangible and corporeal, entropy and unity, destruction and rejuvenation.”Need a Place to Put Some Things, by Lucy Mink

Lucy Mink (www.lucymink.com) earned a bachelor of fine arts degree in illustration and art history from Savannah College of Art and Design, and a visual studies master of fine arts degree with a fine arts concentration from Minneapolis College of Art and Design.  She has exhibited widely and recently received a Pollock-Krasner Foundation Artist grant. Her work is represented  by Giampietro Works of Art, New Haven, Conn.

She writes, “I am consumed by combinations of color and form as a visual, abstract diary of my life, where time does not belong to me, but to others. I am frequently organizing their things while they dance. I am in a situation.”

Untitled image by Rebecca MurtaughRebecca Murtaugh (www.rebeccamurtaugh.com) lives in Brooklyn, N.Y., and works in Clinton, N.Y. where she is an associate professor and chair of the Art Department at Hamilton College. She earned a master of fine arts degree from Virginia Commonwealth University and a bachelor's degree from the Pennsylvania State University. She has exhibited nationally in solo and group exhibitions in New York City, Philadelphia, Baltimore, District of Columbia, Richmond, Nashville, Pittsburgh, Cleveland, Portland, and San Francisco. Her work has been has been published in The New York Times, Philadelphia Inquirer, Seattle Post Intelligencer, Artweek, Stone Canoe, Artworld Digest, Metro UK and Shamenet Magazine. She lives in Central New York and Brooklyn.

In her artist’s statement she writes, “I see myself as a collector of sensual objects and materials with the predispositions of a mad scientist. I find myself intrigued with many materials I come into contact with, some for their formal properties like surface and color, and others for their inherent conceptual potential. Perhaps these tendencies are a result of my experience growing up in a household of craftspeople, my previous profession as a pastry chef, or my bachelor of science degree. In any case, the decisions I make as an artist are deeply rooted in my daily experience with the world and the materials and spaces I interact with.”

Low Bank, by Laurel ShuteLaurel Shute is an abstract painter residing in Beacon, NY since 2008. Previously, her studio was located in Williamsburg and then Greenpoint, Brooklyn, from 1983 to 2008.  In her years in Brooklyn, she joined with fellow artists in alternative venues for group shows; at times bringing together art colleagues in her own artistic endeavors as a curator and collaborator.  Among her works, her earlier cyanotypes and drawings can presently be viewed in the flat files of Brooklyn galleries: Pierogi Gallery (flatfiles.pierogi2000.com) and Kentler International Drawing Space. During her years in Brooklyn, Laurel’s art communicated her relationship to her environment, natural or urban, as she developed her own language of color, shape, light and space; realizing many works in both 2-D and 3-D medias. 

From 1998 to 2006, Shute made eight large sculptures and site-specific installations in the NYC area, as well as, for national and international exhibitions. In site-specific works, Laurel explored her empathetic relationship with the natural environment, evident in titles like: Faces of Water, the title of her sculpture installation for the international artists exhibition Cambio Constante III at the Monastery of Veruela, near Zaragoza, Spain, 2002; and the title: Moods of the Land and Sky, a sculptural environment she designed as an interactive art experience for families attending Whitney Family Day at The Whitney Museum of American Art, 2005.  In this large-scale project Laurel became closer to her true affinity with the abstract elements of organic shapes and color dynamics, which allured her back to painting.

From 2008 to 2010, Laurel frequently commuted from Beacon to New York City. While on the train, observing the speeding-by shapes and colors of the Hudson River environment, feeling both close and distant from nature, she cut and arranged collages with the idea of connecting to the outdoor surroundings though abstract means.  Her current collage works and paintings exhibit a new sense of space, even while she continues with the love of land that inspired her earlier site-specific works.

Recent group exhibitions include: Your Documents Please, 2008-10, a traveling exhibit, Museum of Arts and Crafts, Itami-shi, Japan; Cowgirl 3, 2010, Brik Gallery, Catskill, N.Y; Fracking: Art and Activism Against the Drill, 2011, postcard protest art, Exit Art, NYC; Mic: Check (The: Human Mic), 2012, Sideshow Gallery, Williamsburg, Brooklyn, N.Y.   Completing her BFA in ’82 and MFA in ’85, she studied painting, printmaking and sculpture at Virginia Commonwealth University School of Art in Richmond, Va.; Otis Art Institute in Los Angeles, Calif; and Long Island University in Brookville, N.Y.

Of her work she writes, “Abstraction is a visual form that can introduce new ways of perceiving the world around us; I make abstractions to reorient my perceptions to be in connection with the space of nature.  In this process of painting, the brush marks and color relationships occur as I explore a tactile sense of space that I recollect from the atmosphere of natural places.  In this way, the process of painting is joined to a process of contemplating about my relationship to nature or Earth.  The open-ended, mysterious qualities that I find in the abstract idiom imbue the painted fragments of grids, water, trees, sky, and organic shapes with various meanings that are open-ended as a poem might be.  It is ambiguous whether the paintings are showing a connection or disconnection to nature, in fact, motion or change are the focus rather than the arrival to any ultimate position.  Each of the larger paintings interacts with the scale of the human body- so that the size of the overall painted space and shapes relate almost sculpturally to the viewer's space.  I hope for people to enter a dialogue with my paintings through an abstract contemplation that evokes other connections to nature.”