Works in the exhibition
Whether slow-crafted by hand, alchemically transformed or summoned from thin air, the question of materials is one that all art must come to grips with. One of the chief goals artists in our time have striven to fulfill is in effect a search for a set of proofs, ones which self-evidently demonstrate that art can be anything; and that anything can be art. It is intentionality that appears to be the determining factor in this special equation: everything else need have nothing in common. Material World at Division Gallery is our essay this summer on the subject.
The photography of Richard-Max Tremblay, the painting of Carmen Ruschiensky, and the mixed-media work of Juliana Pivato here function as a focused unit; a phased demonstration of the depth and problem-solving ability of artists to create answers, and not just talk about questions. Tremblay’s multiple windows starkly reverberate, instantly bouncing references off one another: from the renaissance window on the world to the dark glass of St. Paul; while Ruschiensky’s forms are one possibility of what may lie behind such an impassable clarity. Her forms rest and tremble, become and already are; each painting is a material world. Pivato’s work in the exhibition functions as the joker in the pack, drawing our attention to the fact that structure and syntax may be just as responsible for the generation of meaning as the personality of the maker.