Visual Artist - Designer - Educator - Working in Painting, Drawing, Sculpture, Video and Installation
Future Possible at the James Watrous Gallery of the Wisconsin Academy of Sciences Art and Letters, February 16th - April 15th. More info here.
Much to think about from the artists and architects represented in Future Possible, including the work of Lou Host-Jablonski, Ed Linville, Ashley Robertson, Kate Stalker, Anders Zanichkowsky and myself, as well as members of Madison Design Professionals. Yahara Watershed Multiverse Blues, Revisited was created for the exhibition as a platform for contemplating the complexities that will make Madison in 2093, for better or for worse. Check out the Gayle Worland's take (and the back of my head) in the Wisconsin State Journal.
7 days in Seattle with the amazing Teresa Getty has lead to here, the culminating experience of several years of collaborative drawing. Check it our at Method Gallery in Pioneer Square through February 24th.
The Goodman Center in Madison is mounting a photography show documenting the Forge art exhibit at the Madison Brass Works Building, relive the experience!
Makeshift Festival was as awesome celebration of creativity in the visual and culinary arts held at Olbrich Park as a benefit for the Madison Parks Foundation.
Forge, an art exhibition in the Madison Brass Works building, featured installations inspired by the history of the building, its workers, and the elements involved in the transfigurations that took place on this site. It was curated by Erica Monroe-Kane and Ellen Carlson. Check out the coverage in Madison Magazine, Wisconsin State Journal, and the Isthmus, and also photos by John Hart. Video documentation of Sift and Winnow is on vimeo.
A Tiny Rivulet in the Distant Forest, a group exhibition of twenty-three artists with Midwestern ties, whose work deals with the nature of matter, sensation, perception, reaction, consciousness and joy was curated by the amazing Michael Velliquette at ArtStart in Rhinelander WI. Checkout Rachel Bruya's write up for the Wisconsin Academy.
Coffee with Cream made it from the Apartment Project to the doors to Crescendo, the best coffee joint in Madison, for Gallery Night. Check out a video of it's original presentation here.
Nowhere Dreams had a splendid run at Caestecker Gallery, Ripon College. You can see a video of a slide talk from the opening night here.
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 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. Check out a video documenting Coffee with Cream here.
Gravity Shifts , selected as a Spackle Madison Favorite of 2015:
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