David Ambrose, Teresa Braun, Charles Geiger, Brent Green, Julie Heffernan, Sharon Horvath, Ruth Marten, Ronnie Rysz, Gerald Saladyga, Lisa Sanditz, Kyle Staver, and Robert Taplin
Brian Morris Gallery | 171 Chrystie St.
Curated by Brian Morris Gallery and Buddy Warren Inc
Brian Morris Gallery And Buddy Warren Inc. is pleased to present "Worlds Without End" a group show featuring works by twelve artists.
David Ambrose Teresa Braun
Charles Geiger Brent Green
Julie Heffernan Sharon Horvath
Ruth Marten Ronnie Rysz
Gerald Saladyga Lisa Sanditz
Kyle Staver Robert Taplin
This exhibition features paintings, sculpture, video installation and mixed media. The works in this show are beautiful and haunting. There is at once a sense of hopefulness and foreboding. This dichotomy speaks directly to our present day dilemmas.
David Ambrose creates cathedral floor plans as ornate and glorious as the cathedrals themselves. Pierced paper and bold choices of color reveal a lifetime of experience and a monk-like dedication to his chosen craft.
Teresa Braun invites us into a complicated and often disturbing life of a family with two daughters, slaughtered pigs, bloodied truths, and a chance at resurrection and transcendence.
Charles Geiger produces lush "Quasibotanical" worlds within which nature asserts itself in gorgeous patterns and forms. There is a sense of determined perseverance of nature when faced with environmental threats caused by human beings.
Brent Green introduces us to “Carlin,” a stop-motion animation of a diabetic aunt that wants to die. She came to live with his family when he was just a boy. The video is narrated by the frenetic stream of consciousness and musical stylings of Green himself.
Julie Heffernan's painting evokes pure magic. The female figure holds her naked child across her bare chest. He is nearly too big to hold anymore. She brings nourishment to a smaller world full of people, held together by chords and ropes, though it looks as though the bucket full of water may tip too far and the deluge might wash them all away.
Sharon Horvath applies pigment, ink and polymer to paper to canvas like a means of transcendental meditation. The work seems to expand like the universe. One would hardly be surprised to see life spring forth from the composition’s depths.
Ruth Marten's work reminds us that our history has dark spots and our future is not guaranteed to resemble the present. Nothing last forever, but beauty is a noble and lasting pursuit.
Ronnie Rysz's work depicts human figures on the edge of some unseen perils or dread. The work seems to have a pop sensibility, but upon closer inspection one finds layers of depth that suggest something ominously different.
Gerald Saladyga brings landscape painting to the cosmos and back again. Considering the technologies of the day, satellite global positioning, and geographical photography, he imagines viewing Earth’s landscape looking out from within and looking down from beyond its atmosphere.
Lisa Sanditz's painting is based on Thomas Cole's painting, "The Savage State". The composition mimics his, and the human presence is replaced by cellphone towers. Like his painting, it is fictitious, a cautionary tale about our future and legacy here on earth. Since it is a fabricated composite of locations, the paint handling mimics that, slipping in and out of real and imagined space and objects, heralding radioactive and patriotic colors.
Kyle Staver recalls the myth of Hero and Leander, forbidden lovers destroyed by their misfortune and united in death. The winds extinguish the candle flame in Hero's window by which Leander would find his way to his beloved, through dark waters. Without the candlelight in the darkness, Leander loses his way and drowns. Discovering Leander's death, Hero throws herself from her tower to join him in the Underworld.
Robert Taplin recants another myth. He depicts the story of Actaeon the Hunter, who happens upon the goddess Diana unclothed and angry. As punishment, she turns him into a stag and his loyal hounds cannot help their nature. They chase him down and kill him.
"Worlds Without End" marks the first exhibition in association with Silvermine Arts Center, our new partner from New Canaan, CT. Artists from both communities broaden our dialogue, and open up new and exciting possibilities for the future. The show has sense of humor, history, public and private mythologies, stark warnings of dystopia, a sincere hopefulness and a call for us all to elevate ourselves to be better than we are today.