Attention To Detail
Feb. 13 - Apr. 4, 2015
Curated by UI MFA graduate student Devon Mozdierz, under close supervision by gallery director Roger Rowley, the exhibit brings together 5 contemporary printmakers of national reputation:
Attention to Detail
is designed to showcase the strength of the printmaking tradition while at the forefront of innovation. From whimsical to darkly penetrating, each artist is interested in the human psyche, its connections to the natural world, history and self.
Artist James Bailey will lecture and present a printmaking workshop
on Thursday, February 12 in Moscow in conjunction with the exhibit opening.
John Ford’s series of intaglio monoprints incorporate both hand-pulled as well as digital techniques. The work is an exploration of fragments of person, place and thing, which collectively create a narrative for the viewer. Ford states, “by focusing attention upon small things, I propose a menu of visual options that encourage examination…. I would like the viewer to develop a heightened sensitivity to detail as it relates to the whole.”
Bev Beck Glueckert
Bev Beck Glueckert focuses on the present and seeks to “make sense of (her) place in a complicated world.” Her work combines multiple mediums from relief to collograph to hand drawn techniques. Through the use of varied small plates and repeated imagery her work explores mortality and the transition from present to past.
Tim Chapman’s Seven Deadly Sins series question our perception of sin seeking a sense of order from chaos. Chapman explains, “it’s a commentary on the qualities traditionally seen as spiritually toxic to the individual. For instance, having pride would be considered a sin, but no pride is considered a detriment.” Chapman’s monotypes depict this through microorganism-like creatures that emerge and recede through veiled layers of ink.
James Bailey’s reduction relief series The 7 Deadly Sins shifts the scale from micro to macro by dealing with contemporary and large themes of society. We see this through a metaphorical head that can be seen as “the clown, the corporate megalomaniac, or the mischievous imp who is caught in, or manipulating their environment,” explains Bailey.
Victoria Goro-Rapoport’s etchings and mezzotints explore the relationship between natural and man-made spaces. In a theatrical fashion, figures and structures balance precariously. The sense of chaos impends on the fragility of the structures in relation to the force of the natural world. Goro-Rapoport explains, “the real life urban or natural environment is not that different from the one on the stage. Just like characters of the play, the outside dwellers are capable of changing the space they inhabit, but the space in turn, can change and mold them.”