The Possibilities of Line
June 21 – August 4, 2018
While the possibilities of line are infinite, this summer’s group exhibition examines how sixteen artists exploit aspects of linearity in their work. Mel Bernstine’s vividly colored marker drawings of nesting lines and interlocking geometries reflect his interest in emergent structures, while Caroline Blums’ drawings, made with ballpoint pen on graph paper, use overlapping vertical and horizontal bands to create architectural dimensionality. In Kellyann Burns’ painting, multiple layers of oil paint are polished through sanding, revealing linear elements from earlier layers. Chris Corales’ minimalist and lyrical triptych collage reflects his embrace of simple materials, as in this work of found paper, cardboard, and bookbinding cloth. In Paul Corio’s painting, segmented ribbons of color project and recede in space, zipping back and forth across a white ground while progressing through their value range. In Lori Ellison’s notebook paper drawing, a single looping continuous line in graphite is articulated by hundreds of small rings made with ballpoint pen. Chris Gallagher’s oil on canvas diptych uses wide and narrow vertical bands of rich color to create a surging spatial field as well as a fluid micro/macro focus. Reflecting his strong interests in mathematics and science, Daniel Hill creates visualizations of energy and sound waves through undulant and rhythmically patterned linear paintings in acrylic polymer. In one continuous line of type spelling out the lyrics of “What a Wonderful World,” Meg Hitchcock collaged individual letters cut from a copy of Hitler’s prison screed, neutralizing and transforming it into a mandala-like expression of joy. Nicholaus Jamieson employs a construction chalk line tool to snap taut, evenly spaced lines in his architectonic drawing of chalk, charcoal and graphite. A tunnel of light in Maureen McQuillan’s photogram was created by exposing photo paper underneath a large stack of repeated spiral drawings made with marker on clear acrylic paper. Holly Miller sews lines of thread at the edges of simple geometric fields painted in acrylic, imparting dimensionality and volume as well as a reminder of the hand-made. Aric Obrosey’s meticulous graphite drawing contrasts the boldness of a dripping brushstroke with the delicacy and refinement of intricate lace patterns. Jaanika Peerna paints and then cuts mylar sheets into strips which are folded to create volumes that swell and recede with movement, evoking passing clouds and tumbling waves. Overlapping lines of color set on varying diagonals produce dynamic and optically-charged fields in Mel Prest’s acrylic painting. Using watercolor on paper, Laura Watt draws nets of multi-colored fine lines that pull and stretch from irregularly-shaped voids.
55 Orchard Street, New York, New York 10002 212 989 5467 fax 212 989 5642
email info@mckenziefineart.com
Image Credit:
Caroline Blum, Path to Beach, 2017, Ink and wash on graph paper, 11 x 8 1/2 inches
