Ariana Page Russell Interior Optics
October 15 to December 12, 2015
“A body becomes an index of passing time. Skin reveals how bones shift, muscles loosen, freckles and wrinkles form, and bruises appear. I am interested in this as a fashion of skin, including the way a blush decorates one’s cheek, freckles form constellations on an arm, or hair creates sheen on skin’s matte surface. Skin also protects us while revealing internal emotions, offering a translucent space for adornment. I create images that explore the skin as a document of human experience, using my own hypersensitive flesh to illustrate the ways we expose, express, adorn and articulate ourselves.”
For her Interior Optics exhibition, Ariana Page Russell made a series of photographic images which simulate scientific optical instruments (such as “two-photon excitation (TPE) fluorescence microscopy” high-resolution laser imaging) that can detect and “read” layers under the skin—the dermis, epidermis, and so on. These images show an internal topography—the many depths just under the surface that reflect and refract light like a prism—which reveal a hidden, mysterious, often extraterrestrial landscapes. In Interior Optics, skin becomes an “instrument” to detect and reflect light from within. By manipulating images of her skin with varying tones and saturation, this light becomes visible revealing depth and layers just under the skin. This simulation, in conjunction with dermatographia scratches, emphasizes the surface detail in such a way that it becomes a surprising and colorful topography. We see the hair, follicles, dermis, epidermis, and glands, all at once.
Ariana Page Russell currently resides in Los Angeles, CA. Recent exhibitions include the Royal Hibernian Academy in Dublin; Town Hall Gallery in Australia; the Luminato Festival in Toronto, Canada; Adelphi University in New York; and Museo de Arte Contemporáneo in Bolivia. Her work has appeared in Art in America, the Huffington Post, Wired, The Atlantic, VISION Magazine: China, and the monograph Dressing, published by Seattle-based DECODE Books. She was featured on ABC News 20/20 and was a recent participant in the Sexto Encuentro Mundial de Arte Corporal in Caracas, Venezuela. She had a solo exhibition at Magnan Metz in New York December 2014, and will have another in 2016 at NYU's Langones Medical Center, New York, NY. She received her MFA from the University of Washington, Seattle in 2005. Russell is also a creativity coach and the author of Skintome, a website about skin and creativity.
Erin O’Keefe Natural Disasters
May 7 to June 27, 2015
New photographs by New York-based Erin O’Keefe. “This series of photographs are still life images made in my studio. I am keenly interested in making straightforward studio photography that appears to have been manipulated—using analog means to reference digital effects, and playing with the awareness that our trust in photographic images has been so thoroughly undermined. The constructions are precarious, often on the verge of collapse, and the resulting images test our capacity to make coherent connections between seemingly disparate spaces and objects. The still life arrangements are constructed from studio debris, along with printed images of neoclassical architecture and statuary.
“This work was made in response to a general feeling of helplessness and anxiety that has become the brine of modern life. Conflict, disease and climate change destroy the promise orderly efficiency that seems like the birthright of our digital (first) world. I find myself wondering how to move forward, and what to believe in. Images that I relied upon to ground my understanding of the world are now slippery, unreliable things. The title of the series Natural Disasters refers to both the external brand of disaster that seems to arrive daily in the news or at our doorstep, and the internal variety—the failure of our eyes to find legibility and coherence in the images we make of the world.”
Erin received her Masters of Architecture from Columbia University. She has had her work exhibited in New York, Philadelphia, Chicago, Vancouver, Toronto, and Moscow. She was recently named one of Photo District News’ 30 New and Emerging Photographers to Watch.
Ryan Sarah Murphy Site Lines
April 2 to May 2, 2015
“My creative process generates from a wholly intuitive place, prompted by the materials that come and go freely within my day-to-day experience. My current work consists of wall-mounted, collaged constructions made of found cardboard, a highly utilized, indispensable and yet seemingly valueless component of daily life. As a compulsively overlooked throw-away, I am interested in how this simple, abundant and inherently impermanent material can be structured into quiet surfaces conveying both formation and dilapidation simultaneously. Also included in some of these pieces are the covers of used & discarded hard-backed books. Offering a set ground to build from, I am drawn to the colorful blankness of these torn bindings and the empty space created in their missing pages.
“There are certain rules or self-imposed limitations within the making of my work that provide a general structure or jumping off point. For instance there is never any paint or additional color applied to the pieces; the color is strictly that of the cardboard or cover. Any text, printing, pages, or representational graphics are cut/torn away from the cardboard and books, and the remaining shapes and forms are what get used. The surfaces are not treated in any way to prevent the material from changing or deteriorating as it naturally will.
“Each composition, though abstracted to a degree, has a foundation that appears grounded and somewhat logically organized. I have found these collages, suggesting odd terrains of shifting perspectives, to be the result of a subconscious examination of space – both the concrete environment of the city and the interior dwelling of the self. Much like the natural and artificial landscape that we both inhabit and construct, these collages serve as a tenuous meeting point of architectural and abstract elements.”
Ryan Sarah Murphy is a visual artist living and working in New York. In 2001 she received her BFA-Sculpture from the School of Visual Arts. Her collage-based work is process-driven and incorporates the use of found and repurposed materials. From 2012-2014 she held a studio residency at The Elizabeth Foundation for the Arts and was recently awarded a fellowship grant from the New York Foundation for the Arts. Her work has been shown in museums and galleries across the US including ODETTA Gallery (Brooklyn), Mixed Greens Gallery (NY), Lesley Heller Workspace (NY), Liliana Bloch Gallery (Dallas), The Holter Museum of Art (Helena, MT), and Radiator Arts (Long Island City, NY).
Thomas Albdorf Former Writer: Colour on Surface
February 26 to March 28, 2015
Vienna-based Thomas Albdorf’s series of pigment prints integrate graffiti-related methods into the artist’s photographic and sculptural work. “I investigate the relationship between pre-photographic painterly and sculptural interventions and their post-photographic digital equivalents, as well as the connection between spontaneous arrangements in public spaces and compositions staged in the studio that echo the works created outside.”
Thomas Albdorf was selected as one of British Journal of Photography‘s "Ones to Watch" for 2014. His work has been exhibited throughout galleries in Austria, Germany, Sweden, UK & the United States. He and his work have been featured magazines and blogs including Vice magazine's 2014 photography issue, British Journal of Photography, It‘s Nice That, Phaidon UK, Computer Arts magazine, Tell mum Everything is OK magazine, A5 magazine, Eloquence magazine, Aint Bad magazine, Mossless, and many more. He currently lives and works in Vienna, Austria.
Tyson Skross The Losers
January 8 to February 14, 2015
“The works in The Losers fall into three main categories: Character, Setting, or Event, which then fit under a Theme and begin to create a story. Not a consecutive narrative starting here and ending there but a cyclical account of experience. Where Now melts into the Past and perception folds in on itself to be translated through the eye and the hand. The story takes shape in the relationships between the works. For example, the characters have a presence, they pass through all of the others, shaping them (the Settings) or being shaped by them (the Events). The story is in the way each individual work influences and relates to the others and constantly changes as one piece relates to the next. They stand alone but they also carry a common thread. A detail that may come alive in one is developed further in another; a shape, a line, a palette, or a process. In between the larger motifs there are repeating themes approached from different angles, resolved, re-opened, creating an account that never settles on a conclusion.”
Simple stares. Feeling in a dark cave. Trying to see through smoke and dirt clouded air. The stranger. The friend. The guardian. The guide. An identity forgotten forever. An imaginary character. The blindness of thirsty senses without input. Seeing but seeing nothing. The valley, the mountain, the jungle. The adversary. The world is what is in front of your face. The entirety of existence known and unknown. Sanctuary in the closeness of the one in front. The dust and the humidity. A scarred trail. Nicks cuts burns. Towering column of earth. Mapping and remapping. The resigned, heads down, necks bent. Columns of shifting forms with no destination.
No self image of power, triumph or ultimate confidence. A foot missing a shoe. Comically hobbling. Barely human.
Tyson Skross received a BFA from the Maryland Institute College of Art. He has had a solo exhibition in Berlin and his work has been in exhibitions nationally and internationally including in Leipzig and Dubai. He was a 2009 recipient of a Efroymson Contemporary Arts Fellowship.