Sarah McKenzie solo exhibition White Walls at the Indianapolis Museum of Contemporary Art, June 3 through July 30, 2016.
Tag: Huffington Post
“The two extremes of artistic vision can create a vacuous, polarizing effect. Though gray areas abound, the push-and-pull between depicting reality and praying at the alter of the abstract are still prevalent today.
To find a middle ground within a traditional medium such as painting takes an admirable effort to say the least, but some are up for a challenge.Oliver Vernon’s new show, “Tilt,” at David B. Smith Gallery asks us to let go of our need to make sense of what we see and be content to immerse ourselves in his surreal, imaginative world.
Vernon’s new large-scale works lull the viewer into a false sense of security with a harmonious palette that spans the natural world and other realities, but the content is a bewildering jumble of concentric circles, fans, and oozing rivers. Bucolic scenes collide with futuristic worlds more chaotic than our own in these new landscapes.
Vernon goes beyond mere touches of surrealism by traveling through several vocabularies of the weird and unexpected. Geometric forms give way to fluid swirls of color, which then flow back into the familiar. Vernon’s “Tilt” destroys what we know only to hold our hand through the reconstruction.
Oliver Vernon’s “Tilt” will be on display at David B. Smith Gallery until March 24, 2012.”
“The November opening of the Clyfford Still Museum has invigorated the local art scene in Denver, CO, but long before the commotion, David B. Smith Gallery has consistently provided the region with cutting-edge contemporary art. As part of a city-wide initiative to celebrate the opening of the Still museum, the gallery enlisted the help of Liz Miller. The mixed-media artist crafted an exhibition that pays respect to the great abstract expressionist by venturing beyond mere tribute and keeping Still’s rebellious spirit intact.
Miller turned the gallery space into a navigable jungle for Recalcitrant Mimesis, featuring an immaculate installation and delicate works employing a variety of materials. “Mimesis,” meaning mimicry or superficial resemblance, accurately represents the work and how Still’s influence is merely a stepping stone rather than a bible.
The work takes thematic cues from Still, such as his palette and lively brush strokes, transforming them through the use of new media. And yet, while on the surface it references Still, Miller manages to create her own distinct experience. The work accompanying the installation clearly shows Miller’s perspective, leaving the viewer striving to contextualize the forms while failing to mutter a single thought. There are elements that are familiar, but making total sense out of the figures would be a fruitless and frankly misguided task to take on.
Though Miller’s works with pre-existing shapes, her removal of forms from their original context creates a world free of presumption. Though it is technically a collaborative effort by the Still museum and the gallery, “Recalcitrant Mimesis” is capable of standing on its own two feet, enjoying the sunlight as opposed to existing in Still’s shadow.”