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For the Office
Katie Gingrass Gallery
241 N. Broadway, Milwaukee. 414-289-0855
Through October 18, 2006.
Katie Gingrass Gallery
241 N. Broadway, Milwaukee. 414-289-0855
Through October 18, 2006.
| Mark Stephenson Messenger 17 and Messenger 1 |
The Katie Gingrass Gallery, located in
Broadway Central Building, occupies part of
an open floor plan, rubbing shoulders with a
very upscale shoe boutique and an equally
upscale jewelry studio that carries a glittering
collection of handcrafted and artist-designed
adornments. The atmosphere of this space
is one that speaks of unique designs and
consumer temptation.
The idea of consumption is part of the current
exhibition, “For the Office.” The idea of the
“office” can easily suggest the mundane
monotony of endless gray cubicles, or
corporate decoration that tends toward the
conservative and conventional. The premise
of this installation is that the workspace, a
location where many of us spend a
significant portion of our day, can be infused
with the same creative zest that we strive for
in less formal or impersonal spaces. The
works shown tend toward abstract, non-
confrontational subjects, and there are a
some examples that stand out for artistic
interest above and beyond standard office
décor.
Mark Stephenson’s Messenger 1 and
Messenger 17 are related images derived
from imagery of sticks and bramble. Set
against a uniformly black background, these
paintings are vivid, engaging, and have a
gorgeous surface quality. I was mildly
Broadway Central Building, occupies part of
an open floor plan, rubbing shoulders with a
very upscale shoe boutique and an equally
upscale jewelry studio that carries a glittering
collection of handcrafted and artist-designed
adornments. The atmosphere of this space
is one that speaks of unique designs and
consumer temptation.
The idea of consumption is part of the current
exhibition, “For the Office.” The idea of the
“office” can easily suggest the mundane
monotony of endless gray cubicles, or
corporate decoration that tends toward the
conservative and conventional. The premise
of this installation is that the workspace, a
location where many of us spend a
significant portion of our day, can be infused
with the same creative zest that we strive for
in less formal or impersonal spaces. The
works shown tend toward abstract, non-
confrontational subjects, and there are a
some examples that stand out for artistic
interest above and beyond standard office
décor.
Mark Stephenson’s Messenger 1 and
Messenger 17 are related images derived
from imagery of sticks and bramble. Set
against a uniformly black background, these
paintings are vivid, engaging, and have a
gorgeous surface quality. I was mildly
disappointed to see that the medium is photographic pigment on canvas rather than strictly oil or
acrylic on canvas, but their sheer beauty is undeniable regardless of creative process. These
arrangements are curiously isolated emblems of nature, removed from the context of the world
outside and carefully styled for maximum aesthetic pleasure. The tangled balls of twigs form
complex puzzles of shapes and alluring gradations of neutral tone, dramatically three-dimensional
against the dark background. They are highly stylized elements of nature, close enough to the real
thing to remind the viewer of the beauty and pleasure of the outdoors, but ultimately are conceived
with high-style in mind.
acrylic on canvas, but their sheer beauty is undeniable regardless of creative process. These
arrangements are curiously isolated emblems of nature, removed from the context of the world
outside and carefully styled for maximum aesthetic pleasure. The tangled balls of twigs form
complex puzzles of shapes and alluring gradations of neutral tone, dramatically three-dimensional
against the dark background. They are highly stylized elements of nature, close enough to the real
thing to remind the viewer of the beauty and pleasure of the outdoors, but ultimately are conceived
with high-style in mind.
| Libby Ware Studios. Wall pieces left to right: Staccato, Esoteric, and Unknown Force |
The interplay of abstraction and visual
perception lies at the heart of the works
shown by Libby Ware Studios. Esoteric
is a set of twenty-five Op-Art styled
porcelain squares. The crisp black and
white patterns bend and wiggle, and
before long a fuzzy, dizzy sense sets in
as your eyes shudder over the surface.
They’re really rather fun. Moreover, their
creators do the conventional, two-
dimensional Op-Art approach one better
by varying the depth of the blocks in the
piece. Not only does the pattern shift,
but the height of the mounted blocks as
well.
Other works by Libby Ware Studios take
the same idea but with a different quality
of effect. Unknown Force and Staccato
are smaller variations on this theme,
each consisting of four cubes also of
perception lies at the heart of the works
shown by Libby Ware Studios. Esoteric
is a set of twenty-five Op-Art styled
porcelain squares. The crisp black and
white patterns bend and wiggle, and
before long a fuzzy, dizzy sense sets in
as your eyes shudder over the surface.
They’re really rather fun. Moreover, their
creators do the conventional, two-
dimensional Op-Art approach one better
by varying the depth of the blocks in the
piece. Not only does the pattern shift,
but the height of the mounted blocks as
well.
Other works by Libby Ware Studios take
the same idea but with a different quality
of effect. Unknown Force and Staccato
are smaller variations on this theme,
each consisting of four cubes also of
varying depth. Both small and far more delicate. Unknown Force is decorated with solid black
curves, curlicues and little fields of bubble forms. It’s curiously named and far too pleasantly natured
to seem like a “force.” Stacatto carries on the abstract black and white theme, but is more esoteric,
moodier and silent than its cheerful counterpart.
W. Mitch Yung also works with varying projections in his ceramic wall sculpture. His work calls to
mind water-smoothed stone, another evocation of interpreted nature as seen in Stephenson’s
Messenger paintings. Yung creates deliberate variations in the ceramic vertical wave, especially
around the irregular edges of each segment. It’s like nature that behaves well.
David Schaefer’s Beaded Shower also shows a purposefully decorative appearance. Bright rivulets
of oil paint seem to trickle down the canvas in rainbow impasto. Despite the strong colors, there is
balance maintained between the hues, which are the same tart colors as a bag of Skittles. Nestled
alongside in a wall niche are Laura Foster Nicholson’s hand-woven and embroidered tapestries.
These tapestries are only about four inches wide or so, but reach an impressive length of ten-feet.
However, their gentle and meticulous character prevents them from striking a strong presence
among the gallery’s array of paintings, glass pieces, and sculpture.
curves, curlicues and little fields of bubble forms. It’s curiously named and far too pleasantly natured
to seem like a “force.” Stacatto carries on the abstract black and white theme, but is more esoteric,
moodier and silent than its cheerful counterpart.
W. Mitch Yung also works with varying projections in his ceramic wall sculpture. His work calls to
mind water-smoothed stone, another evocation of interpreted nature as seen in Stephenson’s
Messenger paintings. Yung creates deliberate variations in the ceramic vertical wave, especially
around the irregular edges of each segment. It’s like nature that behaves well.
David Schaefer’s Beaded Shower also shows a purposefully decorative appearance. Bright rivulets
of oil paint seem to trickle down the canvas in rainbow impasto. Despite the strong colors, there is
balance maintained between the hues, which are the same tart colors as a bag of Skittles. Nestled
alongside in a wall niche are Laura Foster Nicholson’s hand-woven and embroidered tapestries.
These tapestries are only about four inches wide or so, but reach an impressive length of ten-feet.
However, their gentle and meticulous character prevents them from striking a strong presence
among the gallery’s array of paintings, glass pieces, and sculpture.
| Nancy Eckles, Above the Fray and Seasons |
Two of the strongest paintings in the
exhibition are by Nancy Eckles, whose
Above the Fray and Seasons, both acrylic
on canvas, have spirited surfaces that
display Eckles’ creative process proudly.
There is a sense of time and history built
into the layered, textured surfaces of these
paintings. Geometric organization is
established through square outlines, but
through the process of creation, rigidness
is disregarded as gestures form eloquent
arcs that connect and overrule these
segmental boundaries. Gestures describe
the identity and history of the painting as
they are covered over by subsequent
layers, yet remain like scars that have
altered the topography of the canvas.
Eckels’ gestures do not look contrived, but
beautifully integrated.
exhibition are by Nancy Eckles, whose
Above the Fray and Seasons, both acrylic
on canvas, have spirited surfaces that
display Eckles’ creative process proudly.
There is a sense of time and history built
into the layered, textured surfaces of these
paintings. Geometric organization is
established through square outlines, but
through the process of creation, rigidness
is disregarded as gestures form eloquent
arcs that connect and overrule these
segmental boundaries. Gestures describe
the identity and history of the painting as
they are covered over by subsequent
layers, yet remain like scars that have
altered the topography of the canvas.
Eckels’ gestures do not look contrived, but
beautifully integrated.
The suggestion of “For the Office” is that the working environment need not be stale and devoid of
stimulation. Overall, the pieces in this exhibition do not push any provocative buttons in terms of
subject or style, but are selected to create a gently pleasing and accommodating presence.
However, works such as Stephenson’s and Eckles in particular show a depth that transcends the
need to please, in the office or otherwise.
- K. M. Murrel
Katherine Murrell is co-publisher of Susceptible to Images.
Comments? Email kmmurrell@susceptibletoimages.com
stimulation. Overall, the pieces in this exhibition do not push any provocative buttons in terms of
subject or style, but are selected to create a gently pleasing and accommodating presence.
However, works such as Stephenson’s and Eckles in particular show a depth that transcends the
need to please, in the office or otherwise.
- K. M. Murrel
Katherine Murrell is co-publisher of Susceptible to Images.
Comments? Email kmmurrell@susceptibletoimages.com