April 3 – 25, 2015
Opening Reception: First Friday, April 3, 6-9pm
Closing Reception: Sunday, April 26, 3-5pm
Glen Kessler paints images that initially appear to be atmospheric urban and industrial landscapes, but are, in truth, manipulated views of computer circuit boards. These ‘CircuitScapes’ illuminate the microcosmic world inside of our computers under lighting conditions and from angles that make them appear uncannily familiar. By invoking compositional devices from early American landscape painters like Bierstadt and Church, the work references a new Manifest Destiny—the uncharted world that computers have already begun to usher in. It is a landscape both glorious and ominous, filled with uncertainty about a future where computers reshape our world literally and figuratively.
Throughout Kessler’s work the analogous nature of these two worlds is formally and conceptually explored. The physical similarities between city design and circuitry are obvious, each exerting a bias towards efficient geometric utility. At ‘street level,’ however, the similarities become uncanny, as the mechanisms that increasingly drive our culture appear to resemble the urban and industrial areas that they maintain.
Kessler plays with clarity and obfuscation encouraging viewers to fill in their own connections to places they have been or places they know while they explore these unique worlds. Kessler’s work examines the larger paradigm shift from analog to digital that began in the late 1970s with the personal computer and continues its exponential expansion into all facets of daily life today.
Glen Kessler (b. 1976): Bachelor of Fine Arts (BFA) in Painting from Maryland Institute College of Art (MICA); Master of Fine Arts (MFA) in Painting from the New York Academy of Art. Glen has been awarded a 2013 Maryland State Arts Council (MSAC) Grant, 2 Elizabeth Greenshields Grants, and the Prince of Wales Fellowship. His artwork is collected widely internationally, and is in the public collections of Prince Charles, Ford’s Theater, Yale University, The George Washington University, Boston University, Maryland Institute College of Art, and St. Mary’s College of Maryland. He has earned Best In Show honors at numerous national competitions including ‘The Artist’s Magazine.’ His work has been prominently featured in ‘The Artist’s Magazine,’ ‘Professional Artist Magazine,’ and ‘ArtsyShark.’
In addition to his own studio work, Glen is also a renowned teacher and mentor. He has taught avidly at both the university and community level for nearly 2 decades. He has taught upper level painting and drawing classes at Maryland Institute College of Art, George Washington University, George Mason University, Boston University, as well as The Yellow Barn Studio. In 2013 he opened his own revolutionary art school, The Compass Atelier, to facilitate the teaching of a cohesive art curriculum that takes students through all the necessary elements for artistic success in the most logical, efficient order.
Featuring: Leda Black, Anna Fine Foer, Ruth Pettus, Judith Pratt, Marie Ringwald, and Sylvie van Helden.
Beyond Layers is a group exhibition featuring Leda Black, Anna Fine Foer, Ruth Pettus, Judith Pratt, Marie Ringwald, and Sylvie van Helden. These six local artists will show work that presents how artists today are using both the traditional methods of paper layering and found objects, as well as newer digital techniques to create contemporary collage and assemblage.
Doritos Locos Tacos
Doritos Locos Tacos, DLTs, are a hybrid of powerful, volatile forces. The result is both tasty and hazardous. The same could be said about the screen prints and collages in this show.
Taco Bell sells over 1 million DLTs daily in the United States alone.
Inspired by his love for the lurid comics of the 1960’s, J.D. Deardourff uses the energy and colors found in his comic book collection to create his new series. These painterly screen prints appropriate the vocabulary of the art of comic books: artificial color, line, exaggeration, movement, energy, and the interplay and relationships between sequential images. Deardourff culls bits and pieces from throughout his comic book collection, and collages, crops, layers, embellishes, and reconstitutes them into unpredictable new compositions. These collaged compositions, or sketches, become the basis for his prints. He envisions the gallery space as a blank comic book page, with each of his prints acting in the manner of a comic book panel, both as an independent image and as part of some ongoing, connected, melodramatic momentum.
Top(L to R): Anna Fine Foer, Judith M. Pratt, Leda Black. Bottom (L to R): Marie Ringwald, Ruth Pettus, Sylvie van Helden