Intangible, curated by Jim Osman

 

Gallery 2: Intangible

How do artists draw the undrawable?

Curated by Jim Osman

The world is full of things, people, places and words that at first glance seem unconnected and stand alone. Artists have that uncanny ability to find new languages to make the intangible viewable and hopefully understandable.  Each artist in this exhibition will show a drawing and an associated object/sculpture. “I think the combination of the two will make the seemingly capricious nature of our world clear, if only for a moment.” Jim Osman

Inspired by renaissance artist/engineer Mariano Tacola’s  studies of physics and hydraulics, Lawrence Fane’s Purifier series of sculptures and drawings imply function from another time; the beauty of utilitarian logic and traces of human scale.

Suzanne Kelser’sdrawings are in a sense landscapes. Her job for many years was as a computer programmer and she became intrigued by the “space “of Internet Service providers (ISP). In Kelser’s drawings, the woven lines of ISP connections are perfect examples of depictions of the unseen.

Working from a mechanical drawing tablet of her own design, Simonetta Moro makes panoramic drawings of cities she has lived in like Venice and New York. This tablet can also be set to slowly display the drawing giving the viewer a temporal and aesthetic experience of the transitional spaces along the Grand Canal and the High Line.

John Roach is a sound artist who uses drawing to illustrate and demonstrate the nature of sound. His work creates moments where his combinations make things happen that are unpredictable even chancy – all the while recording it for posterity.

Ward Shelley’swork seeks to memorialize the human condition in an honest and objective way. He makes drawings and installations that have a perfect balance of the analog in his technique – paint in his drawings, and construction methods worthy of Tatlin’s Tower, in his installations.

Hilda Shen’sdrawing and ceramic pieces seek to capture and combine the elusive space of geology and personal history. Her monotypes seem to be landscapes, but of places felt rather than seen. This depiction of the ethereal is positioned in her ceramic sculptures to make fingerprinted surfaces that twist and collide, suggesting a glimpse of things somewhat intangible, yet there.