Jeremy Wineberg is a designer, educator and visual artist working in painting, drawing, sculpture, video and installation. His work has been exhibited across the United States and has recently dealt with mapping, synesthesia, psychogeography, chaos and gravity. He currently lives and works in Madison, Wisconsin, where he also co-curates the Little Galleries and occasionally contributes to Spackle Madison.
Happy to be working again with Seattle artist Teresa Getty on new a installation based on our previous collaboration here, a book of drawings that passed back and forth between us for several months in 2014 and 2015. Look for us at Method Gallery in Seattle in January of 2018.
The Bubbler's take over of the Madison Municipal Building was a blast. Municipal was a one day event featuring 100 artists who transformed the bureaucratic hub into a pop up art extravaganza. Falling (11/8/2016) and Beauties Wasted were made in abandon office spaces of the second floor. Check out the Capitol times preview and Wisconsin State Journal write up.
The Apartment Project was an amazing visual, edible and audible experience. Curated by Bethany Jurewicz, menu by Jon Churan of Underground Food Collective, music programming by Matt Ambrosio, and an opening night with Drink Tank cultivating creativity in a collision of beer, art and food. Check out the write up in the Cap Times and Madison Magazine.
- Solo exhibition Nowhere Dreams opening at Caestecker Gallery, Ripon College in March 2017
- A Tiny Rivulet in the Distant Forest, curated Michael Velliquette at ArtStart in Rhinelander WI, opening in May 2017
- here, a collaborative installation with artist Teresa Getty at Method Gallery, Seattle WA, opening in January 2018
Gravity Shifts swept through the long, wide gallery space and filled it with silhouetted forms in black paint and hand-cut mirrored mylar. Each part mesmerized us with its clean precision and narrative detail and moved us with its gestural power and visual accessibility. The riffled distortions of the shiny mylar upended and shattered everything caught in its reflection casting viewers into parts of the installation they couldn’t just then see. Complicated figures spilled across the wall with the fullness of stop action sequences and the simplicity of paper dolls. Among the masterful variations was one of barely separated moments of a figure losing a battle with gravity and her grip on a child. The deft compositional connectedness of the installation made taking it all seem oh so possible. We moved from image to image trying to do just that and failed. As much as we “connected the dots” of content, juxtapositions and reflections, we could sense the whole but never own it. As with the ways of great art, as with the imperturbable laws of nature.
- Barbara Landes and Paul Sullivan