Exhibitions

[ current shows ]
[ upcoming shows ]
[ past shows ]

Joanne Lefrak

Past As Presence

August 27 - October 2, 2010

Opening Reception Friday, August 27, 5-7 PM

Mounted directly to the wall, Lefrak's scratched Plexiglas drawings, when directly lit, create nearly photo-realistic images in shadow.

Lefrak writes: "My intention is to visually represent a space or place that transmits energy from the past. Each image has a story to tell, and in the same way that the shadow is connected to the drawing, the scenes that are represented are inseparable from history."

The show will include drawings of Trinity Site, the infamous NM testing ground for atomic bombs, 2 of which were exhibited at MASS MoCA earlier this year as part of " InVisible: Art at the Edge of Perception."

Upcoming Shows

MICHELLE COOKE

New Works in Glass and Ink on Paper

October 8 - November 13, 2010

Opening Reception Friday, October 8, 5-7 pm

Light activates Cooke's glass works which are primarily composed of optically perfect glass slides in parallel formations and attached by a single edge. Unlike Cooke's earlier works which were installed directly on the wall, her new glass works are on panel and sealed in Plexi cases. The effects of cast shadow and reflection multiply, soften, and broaden the image, visually dominating the transparent glass form.

Cooke's exquisitely poised and tendril-like abstract drawings on handmade Asian papers - the Aerie series - seem to describe falling and rising at once.

Michelle Cooke's glass installations have been exhibited in museum and galleries in the United States and in Europe, most recently, the New Mexico Museum of Art Flux Invitational in 2008 and the Amarillo Museum of Art Biennial in 2009.

Past Shows

Ellen Koment

Juxtaposed

July 23 - August 22

Opening Reception: Friday, July 23, 5-7 pm

Exuberant large-scale abstract works on paper are based loosely on dance: the juxtaposition of space and form, "especially of very fluid color," writes Koment, "and black and white linear elements." The paintings on panel have a more reflective feel and may recall vegetative forms seen in earlier work. The palette is subtler than in the works on paper, but, like the works on paper, linear elements intercept color fields. Color and line play together, as do painting and drawing.

MARGEAUX

Plunge

June 18 - July 18, 2010

Opening Reception: Friday, June 18, 5-7 pm

In a departure from her earlier series of "transparent object printed on transparent object," MARGEAUX'S subject here is the movement and reflectivity of water, the transparency and reflectivity of glass, and color. Writes Margeaux: "These new works vibrate with movement at the intersection where light and liquid meet. The elements fuse but maintain their identities, creating a third thing: an image or, rather, an illusion."

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MARGEAUX 
		 
			

	
		Plunge 
		

	
	June 18 Ã¢â‚¬â€œ 
July 18, 2010
	 
		

	Opening 
Reception: 
	Friday, June 
18,
5Ã¢â‚¬â€œ7 pm
		
			<o:p></o:p>

<o:p></o:p>

In a departure from 
her earlier series of "transparent object
printed on transparent object," MARGEAUX'S subject here is the movement 
and
reflectivity of water, the transparency and reflectivity of glass, and 
color.
Writes Margeaux: "These new works vibrate with movement at the 
intersection
where light and liquid meet. The elements fuse but maintain their 
identities,
creating a third thing: an image or, rather, an illusion."
	<o:p></o:p>

David Nakabayashi 
				
				
	
	
		
		Winterstate
	
	
		
		
		
		May 7 - June 12, 2010
	
	
		
		
			
			
			
			Opening Reception 
		
		
			
			Friday, May 7, 5-7 pm 
			
			<o:p></o:p>

<o:p></o:p>

<o:p></o:p>

Continuing in his 
				rural
surrealist 
			vein, Nakabayashi's modestly-sized
oil and acrylic canvasses are exploded American road narratives.

Anonymous places and individuals are rendered with exquisite specificity in
bizarre juxtapositions. The acrylic paint provides highly textured abstract
backdrops for realistic rural and/or industrial landscapes and mundane human
activities, but nothing here feels belittled. Nakabayashi gives us a
celebratory, often hallucinatory, view of middle-America. 
				<o:p></o:p>

(The trip began in Ohio - January 2008,
to be specific - where a car accident temporarily stranded him.) </div>
	 
		 
		
	
	
	
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Tom
Miller
	

	Hiding The Body

	
	January 29
		 - March 6, 2010

	
		
		Opening Reception 
	
		Friday, February 5, 5-7 pm
		
			<o:p></o:p>

<o:p></o:p>

In his first
solo exhibition at Box Gallery
		, Miller
	 shows monochromatic - usually black or white - acrylic
relief paintings on panel and on paper. The dominant imagery of "Everyman" as businessman 
	is at once sinister and humorous. Even his series
on paper of "holes" and "entries" conveys some unease. However, the witty
candor of Miller's imagery is refreshing. 
		
			<o:p></o:p>

<o:p></o:p>

By building
layers of paint to create the contours - and sparse but significant details - of figures, architectural elements, and other objects, Miller's paintings seem
to fluctuate as light and one's viewing perspective changes. 
	Paint also operates in these works as a nearly
uniform coating, contributing an enticing sense of concealment: there is
something there we cannot quite get at. It is also beautiful, dense and
polished, with some scratchy little lines on close inspection. 
		Forced perspective distorts the imagery, and repetition is
significant, reflecting "mass-production and conformity in our culture"
writes Miller.
		<o:p></o:p>

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