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<strong>Art</strong> <strong>Matters</strong><br />
Katherine E. Bash<br />
Shawn Camp<br />
Hunter Cross<br />
Holly Everett<br />
Terra Goolsby<br />
Adreon Henry<br />
Fernando Lafuente<br />
Michelle Mayer<br />
Angel Quesada<br />
Sam Sanford<br />
Michael Wutz<br />
Curator: <strong>Till</strong> <strong>Richter</strong><br />
Austin <strong>Art</strong> Alliance Gallery<br />
October 11 th – November 17 th 2007<br />
1
Katherine E. Bash<br />
Over the past several years, I have been developing a set of Tools for Observation that function by creating conditions that amplify one’s<br />
innate capacity to perceive. These are part of a qualitative methodology for revealing poetics and complexities of the interaction of person<br />
and environment. They can reveal multiple interactions of site and perception, new openings and new poetries. They also provoke a<br />
dialogic process, both internal and external, by raising questions and revealing cognitive dynamics of turning space into place. They inspire<br />
examination of the nuances of inhabiting the world and provoke a re-envisioning of the spaces in which dwelling takes place. These tools<br />
play a role in answering several longer lines of inquiry:<br />
What is the relationship between place and consciousness?<br />
How does language create a feedback system with the built environment, each constructing and being constructed by the other?<br />
How does naming establish conditions to perceive?<br />
How can the Tools for Observation establish conditions to perceive and allow maximum intuition about the complexities of a site?<br />
2<br />
- Katherine E. Bash
Shawn Camp<br />
The work of Shawn Camp is expressively rendered but geometrically derived abstraction loosely based on the landscape seen from above or<br />
the sky seen from below. In it he explores the interplay between man and nature structure and chaos order and disorder.<br />
3<br />
- Shawn Camp
Hunter Cross<br />
Hunter studied Studio <strong>Art</strong> at Trinity University with Liz Ward. He is co-director of the Open Doors <strong>Art</strong><br />
Collective, whose first major installation exhibition was at his house. Over 500 people showed up.<br />
As an "AC Pick" the exhibition was praised in the Austin Chronicle and San Antonio's Voices of <strong>Art</strong>. Their<br />
second major exhibition Open Doors Downtown attracted even more willful artfolk, and received a nomination<br />
from the Austin Critic's Table for Best Group Exhibition and a glowing review in regional arts journal <strong>Art</strong>L!ES.<br />
Hunter has been fortunate to be exhibited in the Austin Museum of <strong>Art</strong>'s recent 22 to Watch exhibition<br />
highlighting emerging Austin artists, inviting him to install a Post-It® note tree on the walls of three major Texas<br />
contemporary art spaces. His latest work uses glass sheets and transparent organizational dots.<br />
4
Terra Goolsby<br />
Due to my father’s career as a pilot I traveled a great deal throughout my childhood, finding myself fascinated by the use and<br />
effects of the many different materials and technology I encountered. The constant packaging, unfolding and repositioning of objects in<br />
different living spaces fueled the usual format of my work, which is installation and sculpture. Through the appropriation of contemporary<br />
materials, my work addresses the body in relation to our cultural landscape.<br />
An attraction to synthetic and gender-geared products initiated a long process of material manipulation and experimentation<br />
with nail polish and plastics. Within this process I discovered a violent yet beautiful chemical reaction between the two, which consists of a<br />
series of multi-faceted hairline fractures. This discovery led to the completion of a series of works between 2004 and 2006 each revealing<br />
an organic sensuousness within these synthetic materials. The works entitled “Systems” abstractly depict the interior of the body, as a<br />
series of encased displayed miniature objects, overly resolved and perfected which refers to the current social disease that is an addiction to<br />
self perfection and preservation of youth. Works like Coalesce address the same issues yet place the body of the viewer inside a consuming<br />
environment comprised of several novel parts that make up a larger whole.<br />
These works refer to the science behind beauty and its social effects when it has become an obsessive quest, not placing the body<br />
in danger of becoming the excessive consumer but in danger of becoming the consumed.<br />
5<br />
- Terra Goolsby
Adreon Henry<br />
I practice what I refer to as cyclic variety. By this I mean constantly rotating through a variety of techniques and subjects, but primarily<br />
focusing on three main categories: minimalist drawings (which incorporate outsider/street art with childhood concerns and perceptions),<br />
primary shape and color relations (producing abstract emotions and stories) and photo-based screen prints (which tend to lean toward<br />
political/cultural changes and concerns). This expands the range of my work while also allowing me the opportunity to experiment with<br />
varied techniques. I also find that I gain a clearer perception of my work through this method because I can go back and look at the<br />
variety of pieces and appreciate the work for what it is (or isn’t). Although some may look down upon such a practice as inconsistent, it is<br />
extremely relevant to the dynamic conditions and environment in which we live.<br />
Obviously, contemporary artists have access to a variety of tools for the production of artwork. With each different technique/tool used, a<br />
different product is reached aesthetically. Some of the tools that I work with are silk screens, projectors, computer and digital photography,<br />
Xeroxmachines, as well as traditional brushes and dark room equipment. Access to such equipment tends to evoke an impulsive quality<br />
to the work, and thus, I find myself creating in cycles. Last, I find myself drawn toward using non-traditional materials rather than<br />
canvas to create my paintings. I mainly use vinyl for two-dimensional works. I feel that the use of a reflective material like vinyl is<br />
important because when a viewer looks into such a painting he/she will literally see him or herself inside it, producing an isolating, yet<br />
comforting connection between the artwork and the viewer. Additionally, one must keep in mind that the “mess” and texture of the<br />
paintings are behind a synthetic covering (the vinyl), creating a slick artificiality common in Westernized culture.<br />
6<br />
-Adreon Henry
Fernando Lafuente<br />
7
Michelle Mayer<br />
Michelle Mayer is a conceptual artist who works in a variety of mediums ranging from oil paint to video installation. Her work reflects<br />
and examines what she observes in her physical and mental environment. Her installation, painting and video works instill a sense of<br />
personal participation in the breakdown taking place, and often leave the unsettling aftertaste of revelation.<br />
Mayer grew up in Dallas, attended the <strong>Art</strong>s Magnet HS for Visual <strong>Art</strong>, and continued her education at University of Texas at<br />
Austin, receiving a Bachelor of Fine <strong>Art</strong>s in Studio <strong>Art</strong> in 2002. She has shown work in various spaces in Texas, some of which<br />
include Women And Their Work Gallery, the Arlington Museum of <strong>Art</strong>, Gallery Lombardi, Bolm Studios Gallery and Conduit<br />
Gallery in Dallas. She currently works in Big Medium Studios at Bolm Studios.<br />
8<br />
- Michelle Mayer
Angel Quesada<br />
Energy is expressed in an image through movement, form and color. I seek the place that is between abstraction and figurative, here<br />
is mystery. Seemingly ordinary things allow for a narrative and are the subject for this show and a driving force in my painting.<br />
9<br />
- Angel Quesada
Sam Sanford<br />
I am currently engaged in developing and refining a process-color oil painting system. I use the computer to separate digital images<br />
into primary-color channels, then recreate the images on canvas in successive single-color transparent layers using the traditional technique<br />
of glazing. Two of the present paintings (buildings1 and cranes_2) are based on the familiar four-color process (CMYK) commonly used<br />
in printing. The third painting (horses) uses only cyan, magenta, and yellow, and is based directly on the native color information of the<br />
source image, rather than on software conversion to CMYK mode.<br />
My development of this process-color system for painting is part of my overall continuing search for systematic ways of making<br />
pictures.<br />
10<br />
- Sam Sanford
Michael Wutz<br />
Michael Wutz is one of the rare universal artists today, let alone of his generation. He is a very skilled<br />
draughtsman, accomplished painter and excels in the art of printmaking be it in etching, engraving or dry-point.<br />
What is more, is that he combines these techniques into an animated film look that is unseen in time-based media.<br />
While many of the young artists today give us poppy or irrelevant images to please the eye or convince merely<br />
through their technique short of being decorative, the images of Michael Wutz are dark, full of despair and even<br />
pathos, as unlikely as it may seem for such a young man. His images are drawn from and inspired by literature,<br />
anthropological books, magazines and news media, as well as art history. They possess an eerie familiarity, probably<br />
because we are likely to have seen these or similar images; for example the blind-folded man about to be executed or<br />
frightening natural phenomena. Wutz doesn’t want to treat the wounds of the world but he shows the possible<br />
outcome of the current situation. This is indeed in the tradition of German Romanticism and Expressionism from<br />
Caspar David Friedrich to Ernst Ludwig Kirchner.<br />
Yet the art of Michael Wutz does not leave us doomed. We may find consolation in the famous silver lining of<br />
hope expressed through the sheer beauty of his works and the stupendous craftsmanship and poetry of his<br />
metaphors. The lights in the sky can be interpreted as missiles, for sure. But maybe they are just a nocturnal natural<br />
phenomenon like an aurora borealis, or they could be festive fireworks. However, this consolation is a double-edged<br />
sword. It does comfort us. But is it really the art that comforts us? Or is it the viewer who seeks comfort in art?<br />
Certainly his art will leave you stimulated emotionally and intellectually.<br />
Michael Wutz was born in 1979 in Bavaria, Germany. He graduated from the University of Fine <strong>Art</strong>s in Berlin<br />
with a BFA equivalent and then was chosen to enter a master class with world famous artist Leiko Ikemura at the<br />
University. He received his MFA degree in 2006. Wutz lives and works in Berlin, Germany.<br />
His recent shows include a solo show at his gallery in Berlin, a two person show in Hamburg, a group show at<br />
the Kunstverein of Baden Baden, his Silver Lining flat lining show at Volitant Gallery, Austin. He will also be<br />
included in an upcoming show at Rubinstein Gallery, New York.<br />
11<br />
- <strong>Till</strong> <strong>Richter</strong>
1. Katherine E. Bash<br />
Drawing Reiteration 2<br />
Hand drawing, iteration<br />
Inkjet print<br />
80”x40”<br />
2. Katherine E. Bash<br />
Drawing Iteration: Pattern<br />
Inkjet print<br />
Large size<br />
3. Katherine E. Bash<br />
Drawing Iteration: Pattern 1<br />
Inkjet print<br />
Medium size<br />
4. Katherine E. Bash<br />
Drawing Iteration: Pattern 2<br />
Inkjet print<br />
Medium size<br />
5. Adreon Henry<br />
A Face for the New Moons<br />
screenprint behind vinyl<br />
46 x 24"<br />
6. Terra Goolsby<br />
Untitled<br />
13"x4"x4"<br />
acrylic, nail polish<br />
$180<br />
7. Holly Everett<br />
Tumbleweed table<br />
8. Holly Everett<br />
Chair<br />
ART MATTERS CHECKLIST<br />
12<br />
9. Sam Sanford,<br />
Horses,<br />
oil & alkyd on canvas<br />
18” x 24”<br />
10. Terra Goolsby<br />
Fetish<br />
6'x5"x6"<br />
acrylic, nail polish<br />
11. Terra Goolsby<br />
Untitled<br />
15”x11”<br />
ball point pen, nail polish<br />
12. Terra Goolsby<br />
Untitled<br />
22x14<br />
ball point pen, nail polish<br />
13. Terra Goolsby<br />
Untitled<br />
10x10<br />
ball point pen, nail polish<br />
14. Terra Goolsby<br />
Ornament<br />
6.5'x5"x1'<br />
acrylic, nail polish<br />
15. Adreon Henry<br />
Found<br />
screenprint behind vinyl<br />
16 x 28"<br />
16. Angel Quesada<br />
Naturaleza Muerta –Afternoon<br />
Oil on Cardboard<br />
12" x 14.5"
17. Shawn Camp<br />
I Wrote to Say the Least<br />
oil and mixed media on canvas<br />
18”x 24”<br />
18. Shawn Camp<br />
Caelum no.3<br />
oil and mixed media on canvas<br />
19. Angel Quesada<br />
La Mesa Bohemia<br />
Oil on Canvas<br />
30" x 54"<br />
20. Sam Sanford<br />
Buildings1<br />
oil on canvas<br />
18” x 24”<br />
21. Sam Sanford<br />
Cranes_2<br />
oil on canvas<br />
24” x 18”<br />
22. Shawn Camp<br />
Incapable of Containing Himself<br />
oil and mixed media on wood<br />
23. Shawn Camp<br />
To Have the Sound Play, Indefinitely<br />
oil and mixed media on wood<br />
24. Shawn Camp<br />
Natural Sexiness Over Silky Skin<br />
oil and mixed media on wood<br />
13<br />
25. Shawn Camp<br />
The Period When There is No Breathing<br />
oil and mixed media on wood<br />
5" x 5”<br />
26. Michael Wutz<br />
Reoccurring Dreams (Auspicium Series)<br />
Oil on canvas<br />
51”x1’<br />
Collection of <strong>Till</strong> <strong>Richter</strong><br />
27. Adreon Henry<br />
Structure, 3<br />
screenprint behind vinyl<br />
21 x 23"<br />
28. Adreon Henry<br />
To Burn Out or Fade Away<br />
screenprint behind vinyl<br />
29. Michael Wutz<br />
Robley’s Collection of Tattooed Maori Heads<br />
Edition 16/16<br />
Etching, drypoint, aquatint, spitbite<br />
30. Angel Quesada<br />
Breakfast Table with Tea<br />
Oil on Canvas mounted on masonite<br />
24" x 48"<br />
31. Angel Quesada<br />
Naturaleza Muerta –Morning<br />
Oil on Cardboard<br />
12" x 15"<br />
32. Fernando Lafuente<br />
East Austin Series<br />
Untitled #1<br />
Silver Gelatin photograph<br />
10”x10”
33. Fernando Lafuente<br />
East Austin Series<br />
Untitled #2<br />
Silver Gelatin photograph<br />
10”x10”<br />
34. Fernando Lafuente<br />
East Austin Series<br />
Untitled #3<br />
Silver Gelatin photograph<br />
10”x10”<br />
35. Fernando Lafuente<br />
East Austin Series<br />
Untitled #4<br />
Silver Gelatin photograph<br />
10”x10”<br />
36. Fernando Lafuente<br />
East Austin Series<br />
Untitled #5<br />
Silver Gelatin photograph<br />
10”x10”<br />
14<br />
37. Fernando Lafuente<br />
East Austin Series<br />
Untitled #6<br />
Silver Gelatin photograph<br />
10”x10”<br />
38. Hunter Cross<br />
Extra Credit<br />
Yarn and air vent grills<br />
Varying dimensions<br />
39. Michelle Mayer<br />
Experimental No. 1<br />
Video installation<br />
DVD, unlimited edition
Published on the occasion of the exhibition:<br />
<strong>Art</strong> <strong>Matters</strong><br />
October 11th – November 17th 2007<br />
Curated by <strong>Till</strong> <strong>Richter</strong><br />
Austin <strong>Art</strong> Alliance Gallery<br />
Conception and design: Catherine Dossin<br />
Copyright 2007. All rights reserved.<br />
Katherine E. Bash, Drawing Iteration, 2007<br />
Text Copyright ©2007 Katherine E. Bash, Shawn Camp, Hunter Cross, Terra Goolsby, Adreon Henry, Fernando<br />
Lafuente, Michelle Mayer, Angel Quesada, Sam Sanford, and <strong>Till</strong> <strong>Richter</strong><br />
Images Copyright ©2007 Katherine E. Bash, Shawn Camp, Hunter Cross, Terra Goolsby, Adreon Henry, Fernando<br />
Lafuente, Michelle Mayer, Angel Quesada, Sam Sanford, and Michael Wutz<br />
15
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