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Art Life on November 3, 2021 »Art Criticism
Curator Heather Ferrer created a very coherent abstract work for Rachel Gross, Rob Hizig and Kirsten Reynolds through "Unbound" at the BCA Center in Burlington. Exhibition. All three artists work with painted wood and reject the rectangular frame, which is an impersonal and restrictive traditional format in art and architecture. They also use an interesting interest to inspire the audience to question what they see-using imagination and narrative to participate in art.
The audience who entered from Chapel Street walked into a mystery. Reynolds' "Overflow" was commissioned by BCA to be created specifically for the gallery's foyer and consists of three airy 3D grids with 2×4 frames. Some extrusion columns are covered with long, painted arcs made of curved plywood. A fragment—a short arc attached to a pillar—lays on the side of a structure, as if discarded or dropped.
These buildings almost fill the entire space, dwarfing human tourists. Leaning against them, they forced the audience to walk a path around them, while wondering, what happened here?
Reynolds is an installation artist in Newmarket, New Hampshire. She wrote an MFA paper on Art and Culture Carnival for the Maine College of Art and Design. That extensive network made her interested in the theoretical methods of architecture. "Overflow" subverts the traditional architectural concept, that is, a stable, complete, and durable space. The installation oscillates between about to be completed and abandoned; any kind of narrative seems to be valid.
"Overflow" even destroys the idea of building structure. In the blink of a comedy, the "textures" of the two fours were carefully painted, and the group of dowels sticking out at the intersection of the planks (occasionally where they don't intersect) just created the illusion construction of the back beam. The frame is actually held together with hidden screws.
Over the phone, Reynolds described her work as being "away" from the work of abstract minimalists such as Donald Judd and Richard Serra. Talking about the scale and materials of these sculptors—Serra’s huge steel plates, Judd’s 100 aluminum boxes in Marfa, Texas—Reynolds pointed out that “their works are overwhelmingly masculine, for example, I am here; take it or give up.
She added: “I found that as a female artist, a slightly subversive, material liar is a way to react and criticize those predecessors.”
Abstract minimalism also influenced Hitzig, who has four works in "Unbound". The Montpellier artist created a special-shaped painting on wood in a unique form of wall hanging, the surface of which has depth.
"Onotonto" commissioned by BCA is a seven-sided birch panel, 44 inches high and 66 inches wide. From a distance, it seems to be drawn in a way that emphasizes its polygonal shape: nested color bands outline the shape in gradually decreasing sizes until they enclose a small white triangle in the center.
But a closer look reveals that a lot of things are happening under this controlled geometric surface: the radial graphite threads seem to represent an intent to discard, and the dyed shellac spreads like watercolor stains, intersecting the dripping acrylic paint threads.
He explained on the phone that after applying the ribbon with tape, Hitzig applied a layer of transparent shellac, and then alternately rubbed and sanded them until they got a gloss that still retains the texture. More texture comes from the two initial plaster layers applied vertically on the untouched wood surface to create a woven appearance.
Although the paintings are similar, the seven-sided "Aspienta" of the other committee has a completely different shape from the "Onotonto", and the "Noringatt" has six sides. (According to one label, Hitzig's meaningless title is designed to inspire imaginative participation.)
Hitzig's early 2012 work "Always There", which will return in 2020, consists of four connected maple panels with a highly glossy shellac finish, showing the texture of the wood. After careful inspection, the panel is not completely flat. Each is a wedge, connected in a way that evokes folding screens.
Plastic painting has a long history, but it gained prominence in the 1960s, especially because of Frank Stella, Hizig's main influencer. However, the self-taught artist Hitzig brought a completely different toolbox to his modeling work.
Hitzig is a former Peace Corps volunteer who worked as a forest ranger in Benin and Senegal for three years. He brought his interest in wood back to Washington, D.C. During his time at the U.S. Environmental Protection Agency, he started making productions at the Woodworking Club furniture. He moved to Vermont in 2004 to focus on making art with wood. But Hitzig continued to apply shellac to his work—a laborious furniture finishing skill he learned at the woodworking club—because it helps to create a sense of depth.
"Depth on the plane, multi-layered, mysterious creation at the same time-I hope it is confusing, but a kind of confusion that confuses you," the artist said of his work.
Gross's special-shaped plywood paintings more directly play the audience's sense of depth. As a trained printmaker, the Hartland artist received a master's degree from the Taylor School of Art and Architecture at Temple University in Philadelphia. She owns quadruple woodcut reliefs and intaglio prints in programs titled "Pine Wraith", "Album", "Carapace" and "Anchor". These works create the illusion of depth by layering polygons and organic shapes, some conform to the rectangular constraints of the paper, and some extend to the outside, making their shapes appear to be cut off by the frame.
Gross is very interested in the texture of these prints and her three large wall hangings on special-shaped plywood. The latter actually contains fine-textured prints, cut and glued to various parts of the plywood. In some cases, the audience must figure out which wood grains are printed and which are real.
"Ascension" is a 32 x 48 inch piece made of only three overlapping plywood, but Gross's technology makes it look as if it has more surface relief. The fine grain prints of different colors are superimposed together, or create obvious solid edges, with a visually contrasting surface, which complicates the boundaries everywhere. The fluorescent orange and pink spray paint on the edge of the central box adds luster and illusory depth to the shape, as if the box is rising into heaven.
"Ladder" is another piece of plywood. It is a set of geometric planes that can recede or protrude from space, fold or unfold each other. The sky blue polygon near the top of the work, together with the title, seems to imply the end of the ladder.
Gross said of her art, "This can be traced back to the idea of art creating a fantasy world that you can enter-like this window leading to a space that draws you in, the idea of a secret room. ."
It is worth noting that the works of the three artists in "Unbound" all allude to the secret room. Leave it to the audience to summon them.
The original print version of this article is titled "Transformers"
Labels: Art Review, Unbound, Rachel Gross, Rob Hitzig, Kirsten Reynolds, BCA Center
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