Through site-specificity and the documentation of ephemeral occurrences, two shows reassemble painting and photography into archival experiences tracing movement and temporality.
Propelling two-dimensions into a three-dimensional plane, April Street and Doty/Glasco— the collaborative product of artists JR Doty and Joe Glasco— take image-processes beyond the oppositions that once animated its discourse. Through a meticulous and delicate manipulation of pictorial strategies, Street and Doty/Glasco reshape traditional narratives into physical and psychological spaces of transcendental abstraction and inherent impermanence.
Central to Nothing Last’s Forever, are April Street’s duo of 7 x 12 ft. ‘monolithic leaning paintings,’ scaled to compliment the massive garage doors they sit within at 5 Car Garage. Diluted paint spreads, twists, and turns to thrust viewers into the precariousness of their behemoth structures. A myriad of visceral materiality and performative acts, Street’s canvases are cavernous bodies. Wrapping herself in hosiery doused in pools of acrylic paint, the interior layers of her paintings form from re-enacting precise body positions she records while sleeping. Smears of pigment, light, space, and material intertwine to hybridize the figurative, representational, theatrical, and decorative into a seamless element of her canvases’ architecture.
Similarly, Doty/Glsaco combine dualities— the ornamental with the organic; the intimate with the intergalactic; the dislodged with the fixed— to contemplate the sublime within the walls of CES Gallery. Culled from 40,000 images the duo collected on the road from locations of unique geological conditions, Time Always Finds You and the transcendent landscape series The Futurelands, erect portals for contemplating the invisible within the visible. Like Street, the fragmentary nature of what images make visible is questioned in meticulous ‘hand-abraded’ surfaces and abrasions of typical methodologies. Liquid mountainous terrains of years of geological activity are compressed into a stop-action image of fluid flows, marbleized swirls, and mutant fusions of pastel color and monochromatic transparency.
Repositories of action and artifact, Street and Doty/Glasco present bodies of work that resist singularity to illuminate the boundlessness of their multiplicity: as windows in space, as illusory extensions suspended in time, as horizontal sculptures on the floor, or as walls themselves.
Both on view thru March 14, 2015