Friday, April 06, 5:30pm
Artist Talks in the Galleries: Friday, April 6 @ 5:30pm
Opening Reception: Friday, April 6 from 6 - 8pm
Exhibitions Run: April 6 - 26, 2018
THE RAW MIRACULOUS: LINDSEY FROMM
The Raw Miraculous draws from age-old traditions of looking to nature, and is inspired by those who dream to envision the heavens. Born out of an awe-stricken reveling at the unknowable qualities in the creation of life, it is a testament to the raw miraculous at work.
This installation reflects and directly references the symbology of Renaissance mystics and alchemists, 20th century Transcendentalists, and the ancient Cycladic occult; to wonder upon the Microcosm of human life, the Macrocosm of the Universe, and how these two worlds might intersect within the body. Lindsey’s exploration takes the form of ceramic totems and mandalas of fire, water, earth and air; suns, moons, stars and clouds; and are alight with metallics of gold, silver, copper and bronze. Placed against backdrops of patterned paintings, handmade papers and textiles, these sculptures take on the quality of altarpieces. Small precursory drawings, prints and papers accompany this work.
In love and in pain, collaboratively and alone, from birth until death, we all engage in procreative rituals of mythic proportions. The Raw Miraculous is an imaginative, ecstatic devotion to the beauty of creating life. This is the enactment of a creation myth.
OUTCROPPINGS–MEDITATIONS ON TIME, SPACE & MATTER: ALEXIS KAMINSKY
Alexis Kaminsky stacks, strings, and piles hundreds of polygons for her site-specific installation, Outcroppings. In keeping with her other assemblage work, Outcroppings shows how many small things, when taken together, can have significant results. By reusing cardboard shipping packages to construct gem-like forms, Kaminsky pokes fun at preciousness and avarice.
The hardness left after the wind and rain
The rocks that jut forth after tectonic uplift
The guide in the Grand Canyon said, “Place your hand on this seam.” I reached out to touch the rock wall. “Right there, there’s a gap of 20 million years, a missing era.”
The year that carried big rains that washed away our roads and remapped the land around us, exposing old rock, now new outcroppings
I think about climate change and the destruction that our hubris has unleashed on the earth. The earth will continue with or without us.
Outcroppings–the earth’s evidence of what has happened.
ABOUT THE ARTISTS
Lindsey Fromm is an artist and educator residing in Albuquerque New Mexico. She graduated from UNM with a Master of Fine Arts and Master of Art Education in 2014. She currently teaches studio art and art history at Central New Mexico Community College. As a member of the not-for-profit Friends of the Orphan Signs, she works as an artist, educator, and project director for the “Highland Project.” Fromm is also an active participant in the Harwood community, where she engages in collaborative art making experiences with friends of all ages. She maintains a multi-disciplinary practice which currently includes clay, handmade paper, and drawing.
“My artistic process is experimental, intuitive, collaborative, and based in ritual. Communication through signs, symbols and language is deeply integral to my work. In my studio practice, I use primal, archetypal forms to explore prehistorical concepts of the feminine psyche and body. I am informed by myths and ritual objects associated with creation stories, and the melding of Pagan and Christian ideologies of the Renaissance mystics. I contain a psychological drive to grapple with the dark and ugly things that lay within the subconscious, and I seek to define a feminine reality through an emotional rawness in form and texture.” – Lindsey Fromm
Alexis was born and raised in New Mexico. Growing up in this expansive high desert landscape has filled her with a respect and humility that reminds her of her place in the bigger schema and the things that really matter—place, relationships, and context.
“A few summers ago, my husband and I loaded our two dogs into our VW Synchro and drove from New Mexico to Seattle then flew north for a week in southeast Alaska. We crossed red-brown range and basin as we drove west across Nevada on Interstate 50, also known as the loneliest U.S. highway. We wandered through trees, moss, ferns, and so many kinds of green all the way up the Pacific Coast. We hopped from inlet to island, seeing even more green sprouting from black granite and volcanic rock and blue-green water in the Sitka Sound. On the way home, yellow dust and sharp manure replaced the mildew as we drove eastward across Washington. In Wyoming, we crossed into the red-brown-grey-yellow-green Rocky Mountains that stretched jaggedly to meet the bright blue, high-altitude air, and brought us all the way home. This trip planted the seed that became Outcroppings.
Outcroppings is composed of reused corrugated cardboard, gesso, glue, and hardware.” – Alexis Kaminsky
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