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'New and Used' at Bradbury Gallery
examines art from common objects
Feb. 28, 2007 -- On Thursday, March 8, at 5 p.m., the
Bradbury Gallery at Arkansas State University will hold an opening
reception for “New and Used,” an exhibition featuring artworks inspired
by common objects. The work of four artists, John Adelman, Virginia
Fleck, Ian Lemmonds, and Paul Villinski, will explore how the ordinary
can be a stimulus for the creative mind. The exhibition includes
drawings, photographs, assemblage, and sculpture.
John Adelman of Houston, Texas, creates highly conceptualized outline
drawings of various found objects. Adelman states, “I seek the
two-dimensional representation of a three-dimensional entity.” Almost
anything from spare car parts to a bowl of cereal can inspire him, as
well, as he dissects objects into their component parts and then
translates these three-dimensional entities into two dimensions. He
never seems to make a mark without having justified its purpose.
The artist describes his process for “Lot (nails)”, 2007, gel ink on
paper—thus: “”Lot (nails) is the full amount of the one-inch and
two-inch nails contained within the artist’s studio, precipitously
dumped directly on the surface and traced wherein they lay. Each nail
was traced once and placed back into the container.” Adelman
meticulously traced and thus recorded 8, 084 nails.
Adelman received a B.F.A. in Drawing, Painting, and Printmaking from
Ohio State University in 1992. In 2006, he received a M.F.A. in Drawing
and Painting from the University of North Texas. He has been included in
several group and solo exhibitions such as “Drawings” at Holly
Johnson Gallery, Dallas; “635331” at Stafford Gallery in Denton, Texas;
“Works on Paper” at Mills Pond House Gallery in St. James, New York;
“Draw/Drawing 2”, London Biennial, The Foundry, London, England;
“New Directions 2005” at the Barrett Art Center in Poughkeepsie, New
York and “Amarillo Biennial: 600 Drawing” at the Amarillo Museum of Art
in Amarillo, Texas. Adelman’s work is available through Holly Johnson
Gallery, Dallas, Texas (www.hollyjohnsongallery.com).
Fleck’s beautiful works are created from thousands of colorful plastic
carrying bags from retail stores. She cuts and pieces her monumental
works, assembling what she calls mandalas—large circular assemblages
that, like their Buddhist and Hindu counterparts, refer to various
tangible objects and circular geometric patterns which metaphysically
and symbolically represent the cosmos. Her mandalas, like those in
Tibetan sand paintings, depict a microcosm of the universe from a human
perspective.
Fleck describes her work thus: “Like a bad dream, the thousands of bags
in my studio develop a collective voice. They are hawking the “American
Dream,” promising success through consumerism. It strikes me that this
“Dream” has dreamed me. I cut the bags into pieces. Without
premeditation, I assemble medallions, checkers, and zigzags, letting my
hand choose.” By letting her hand or her unconscious choose, Fleck
echoes Carl Jung’s view of the mandala as “a representation of the
unconscious self.
Born in New York City, Virginia Fleck now lives and works in Austin,
Texas. She received formal training at the Maine College of Art from
1978-80 and the School of the Museum of Fine Arts in Boston, 1986-89.
She has exhibited extensively in Texas and has received numerous
residencies. Most recently, she completed an Art in Public Places
commission for the city of Austin, a large-scale five-panel relief
sculpture for the Deep Eddy EMS station. Her work is in collections
nationwide, including that of the Women’s International News Gathering
Service. Her work is available through Finesilver Gallery, Houston and
San Antonio, Texas (www.finesilver.com).
Photographer Ian Lemmonds lives and works in Memphis, Tenn. Photographic
exhibitions include 2004’s “Halo Maintenance” and “Things I found at
Thrift Stores.” Installation exhibitions include 2006’s “Sometimes the
Medicine Kills You,” and “Some Things Never Get Better.” Born in
Arkansas and raised in Omaha, Nebraska, Lemmonds’ family moved back to
Arkansas when he was twelve. He attended college in Louisiana, moved to
Seattle, Wa., and then moved to Memphis, where he began to take
pictures.
His photographs feature various found and purchased objects,
often in a domestic context. He arranges objects to evoke a sense of
wonder, a wonder that he feelseveryone experiences, sometimes in the
simplest activities. “I buy things from second-hand stores all over the
South, take them home, and meddle with their context to make them evoke
something. Context is everything…how objects relate to their
environments.” Lemmonds’ work is available through L. Ross Gallery,
Memphis, Tenn. (www.lrossgallery.com).
Paul Villinski was born in York, Maine, and has lived and worked in New
York City since 1982. He attended Phillips Exeter Academy, the
Massachusetts College of Art, and earned his BFA with honors from Cooper
Union.
His work has been included in more than 70 exhibitions, including recent
shows at the Islip Art Museum, the Ogunquit Museum of American Art,
Carnegie Mellon University, the University of Wyoming Art Museum, and
Morgan Lehman Gallery. He has been a recipient of a National Endowment
for the Arts grant. His work is included in many private and corporate
collections, including the collection of Tina Weymouth and Chris Franz,
now of Westport, Conn., formerly of “Talking Heads.” As a pilot of
sailplanes and paragliders, metaphors of flight provide a central theme
for his art.
For his beer-can butterflies, he asks, “Who are the sidewalk drinkers
who leave behind these thousands of crushed beer cans, forlorn evidence
scattered along the streets of
the city? With tin snips, files, and a
jeweler’s grinder, I take these “dead soldiers”—every one of them once
raised to someone’s lips—and try to breathe life into them, my process
in the studio mimicking the act of transformation and rebirth that
butterflies symbolize everywhere.” Villinski’s butterflies are “intended
as quiet images of hope, community, recovery, and the possibility of
change, of acts of kindness.” He asks, perhaps rhetorically, “If a
handful of littered beer cans can metamorphose into a flock of
fluttering butterflies, what else might be?” Villinski’s work is
available through Morgan Lehman Gallery, New York City and Lakeville,
Conn. (www.morganlehmangallery.com).
"New and Used” runs at the Bradbury Gallery through April 15. Gallery
hours are 12 p.m.- 5 p.m., Tuesday-Saturday and 2 p.m.- 5 p.m. on
Sunday. The exhibition and the reception are free and open to the
public. For additional information, please contact the Bradbury Gallery
at (870) 972-2567.
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