| OPENINGS |
Reception: Friday October 14 from 6pm to 8pm
Join Studio H in celebrating its second anniversary. See concurrent exhibitions “Slurry” by Katherine Tzu-lan Mann and “Autumnal Equinox” by Pam Rogers with artists in attendance.
Read Wade Cary’s interviews with the artists:
About the exhibitions:
KATHERINE MANN: SLURRY
Katherine Mann’s paintings show how patterned, highly-wrought, decorative elements coalesce from the chaos and contingency of an organic environment–and how they dissolve into that environment again. Each painting begins with a stain of color, the product of chance evaporation of ink and water from the paper as it lies on the floor of the studio. From this shape, the landscape of each painting is nourished, coaxing from this organic foundation the development of diverse, decorative forms: braids of hair, details from Beijing opera costuming, lattice-work, sequined patterns. Although founded in adornment, these elements are repeated until they too appear organic, even cancerous… and they at once highlight and suffocate the underlying ink stained foundation. Each of Mann’s paintings is tense with the threat of disunity and incoherence as nature and artifice spring from and merge into one another, and as different elements multiply and expand like poisonous growths.
Each one of Mann’s paintings are utter hybrids; man-sized fields punctuated by moments of absurdity, poetry, mutation, growth and decay that are both suffocating and fabulous. They glory in the sensuous and the rambling, but intersperse the chaos with moments of neurotic control. They explore the potentialities of growth, but also of overabundance. Mann thinks of her work as baroque abstract- a celebration of the abundance of connections and clashes that can be found in the disparate mess of matter in the world.
PAM ROGERS: AUTUMNAL EQUINOX
Autumnal Equinox is a body of work based in the examination of the relationship between people, plants and place as she continually tries to weave the strings of art and agriculture, myth and magic, and healing and hurting into an ongoing inquisitive whole. Rogers believes that natural elements define place for us, evoke memory and comfort and have historically been part of a visual narrative. Often she looks beyond the beauty at what lurks below. This examination allows the work to take on the persona of botanic magic realism, forcing exploration of personal relationships and events in an alternative context. The exchange that takes place with visual images, memory and perceived past relationships converges within this new body of work in ways that suggest the convergence of natural cycles during the Autumnal Equinox
An additional layer found Rogers’ work is her interest in how human encroachment over time has assisted in the redefinition of nature. Rogers has explored this in a more tangible way, within the materials and in her process. In an attempt to relate the materials directly to the work, Rogers experiments with the creation of pigments from natural elements such as plants and soil and integration these into her process as well as making various papers from local invasive plants.
By using painting, drawing and sculpture to engage the viewer, Rogers works to create a continual journey that wanders between actual reality, what we desire and hope is reality and what we fear is reality.