May 5, 2017
Poppy Receding investigates the sincere absurdity of processing loss with decorative memorials, themselves transitory tokens of grief. Based in a fiercely personal, yet oddly abstract pain, the series considers the story-infused space of morning--colorful, obsessive layers behave like memory extracts. Each mark suggests a rapidly-fading inscription.
Conflating the mysterious Mojave Desert deaths of her sister Cindy Adams (1972) and musician Gram Parsons (1973), Adams asks what it means to "know" someone through location-tied story; to "understand" events via clues, just as she "knew" both individuals through family narrative. What does it mean to assuage loss with monuments, letters and stories? Do gifts for the dead resolve our perplexity?
To engage this, Adams uses transparent layers to suggest memory, story cycles, and the deluge of tokens posthumously offered to Cindy and Gram. She deconstructs and reframes the language of the Mojave Desert, the visual vocabulary of memorial shrines, and iconography from Cindy and Gram's clothing, whirling them colored attempts to mediate the space of grief with flowers, cards, and condolences-into a sensitive system of overlaid shapes. The desert they lovely represents and consumes them.
Each intimate piece earnestly embraces our candy-attempts to mediate the space of grief with flowers, cards, and condolences-the physical trappings of a cultural process of mourning, often our only recourse in grappling with the unexplained. Poppy Receding is itself a fragile, momentary monument to the passage of imprints, the trace of Cindy and Gram, and to our moment, an undeniable passage of its own.
April 7, 2017
Green’s artist statement, "In my work, I have explored a creative process which involves applying multiple layers of color and gesture to produce a desired result. I then destroy the image by completely painting over it. I partially grind off the top layer to reveal the under painting beneath. The resulting patina is a record of the painting’s visual history and the multiple stages of my creative art."
Suzanne Marshall’s statement, "Recently I had a sea change in my approach to painting. Instead of planning the work to communicate a personal philosophy, I am letting the paint itself take over the discourse with the viewer. The act of painting communicates through the innate qualities of the medium: the edges which are created when one color touches another; the color itself; the values; the shapes; the thickness of the application; the size of the work; the surface quality; and many other attributes. The surface quality of the work is especially important to me as a painter; paint scrapped off to expose previous layers and marks is, for me, a metaphor for bringing the past to bear on the present informing the future."
Artful Saturday, April 15, 2017
From: 1-6:00 PM
Artists Talk: 3:30-4:30 PM