Works in the exhibition
Team Studio is a phenomenon of art school. It’s what happens when a heterogeneous group of talented students become friends, and work in close proximity; electric moments of creativity, fun and intellectual stimulation coax unforeseen exchanges of diverse influence: at times, the result is almost like a bona fide art movement. At the best of times, artistic explosion can occur. This exhibition surveys the work of five emerging artists, all of whom participated in such a movement. Each is indeed a strong example of the best kind of profit one can take from art school; being open to any kind of idea, excited by possibilities, and committed to the process of developing a personal style.
Amber Albrecht’s intricate, many-layered silkscreen prints are simultaneously inscrutable and terribly inviting; somehow they make it clear that this paradox is unproblematic. Their subject matter involves quietly troubling fairy tales and hoary images of sylvan nature multiplying across the screen of her imagination, and being transfigured into movingly fine-tuned images of a unique world.
Katie Dutton’s imagery is connected to the idea that nostalgia is both necessary, as well as ironically funny. Her work insightfully suggests that our memories of the past are always mistaken, that we are never able to accurately draw the truth; memory and myth are therefore identical and simultaneous. Her use of mixed-media techniques emphasizes a warm and forgiving attitude towards our awkward feelings and our little old stories.
Allison Freeman’s practice involves the idea of the mise-en-scene: she paints ‘ordinary’ people posing for portraits, in the most self-consciously dramatic and artificial scenarios; the scenes become real and the people become fake. The props she invents as secondary characters can sometimes take over, break out, and achieve their own separate existences; to the point where streamers on the floor can imply the destructiveness of a hurricane.
David Laquerre’s combine and sculptural work is proof that there’s no love lost between the confrontational and the beautiful in terms of what an imaginative object-maker can achieve. This is art that insists that we admit to liking rude jokes, the obvious, the physically direct and the crude, so long as it’s intelligent and answers to a kind of taste that, while aggressive, remains benign.
Rosemary Scanlon is a photographer whose current work incorporates the layering of imagery as well as content and mood. The superimposition of crystalline landscapes, where quiet reigns, are merged with scenes of young people in rowdy situations and managed with great confidence. She generates the sensation of hearing silence while listening to sound; her use of color reinforces our clear sense that the visual is not seen only with the eyes.