Booth # 2.10
Press Release:
This is a group presentation of paintings, drawings, and sculptures by eight distinctively talented artists: Josh Cloud, Annie Louise Goldman, Chyrum Lambert, Amy MacKay, Theo Michael, Wyatt Mills, Michael Norton, and Rob Sipchen. From curiously abstract to delightfully illustrative, this is a glimpse of our 2024 programing. Despite the obvious stylistic differences, this collection of works evokes unquestionable whimsy for those who choose to gaze. Not quite fantasy, more like a shift in perception, these works explore the roots of creativity, almost from the point of view of someone not yet worn down by the world. These artworks act as oracles, freezing moments in time and space; offering predictions, and answering questions yet to be uncovered.
Both Lambert and MacKay use the color swatch as the leading principle in their approach to image creation. “The Palette” is the boss, as the artist innocently follows, trying to catch up. Goldman and Mills approach things differently. Color is a deliberate tool. Extravagant color-blocking serves as a grounding agent to the subject matter. Without the use the chromatic spectrum, success would never be granted; the keystone would never be laid. Theo Michael’s works, despite being monochromatic, are also defined by their simple use of color. As opposed to using bleached paper, Michael uses patina’ed cotton rag, the more soiled the better. This creates a “lived” look in his highly precise drawings, adding history before the draftsman begins.
Simply put, this body of work is wild and childlike. And in the realm of the young, the world is a tantalizing and extravagant place. Everything is possible, and no-one can tell you no. Through a captivating blend of mediums, these artists craft a visual landscape where dreams, demons, and delights intertwine.
This is a group presentation of paintings, drawings, and sculptures by eight distinctively talented artists: Josh Cloud, Annie Louise Goldman, Chyrum Lambert, Amy MacKay, Theo Michael, Wyatt Mills, Michael Norton, and Rob Sipchen. From curiously abstract to delightfully illustrative, this is a glimpse of our 2024 programing. Despite the obvious stylistic differences, this collection of works evokes unquestionable whimsy for those who choose to gaze. Not quite fantasy, more like a shift in perception, these works explore the roots of creativity, almost from the point of view of someone not yet worn down by the world. These artworks act as oracles, freezing moments in time and space; offering predictions, and answering questions yet to be uncovered.
Both Lambert and MacKay use the color swatch as the leading principle in their approach to image creation. “The Palette” is the boss, as the artist innocently follows, trying to catch up. Goldman and Mills approach things differently. Color is a deliberate tool. Extravagant color-blocking serves as a grounding agent to the subject matter. Without the use the chromatic spectrum, success would never be granted; the keystone would never be laid. Theo Michael’s works, despite being monochromatic, are also defined by their simple use of color. As opposed to using bleached paper, Michael uses patina’ed cotton rag, the more soiled the better. This creates a “lived” look in his highly precise drawings, adding history before the draftsman begins.
Simply put, this body of work is wild and childlike. And in the realm of the young, the world is a tantalizing and extravagant place. Everything is possible, and no-one can tell you no. Through a captivating blend of mediums, these artists craft a visual landscape where dreams, demons, and delights intertwine.
