Hatheway Curatorial is pleased to present “Captivate” a selection of recent paintings by Daphne Hill. The show will be on view at Barbara’s at the Brewery from April 28 through June 9, 2012. Join us at the Brunch of Shame on Sunday, May 6 from 11am - 2pm to celebrate the opening of this show.
Daphne Hill’s most recent series of paintings contains the spitting images of vigor, innocence, frivolity and lust. Grounds of ornamental domestic materials – wall paper and place mats – are familiar, invoking a safe haven and privacy. Heavy florals, strokes of gold, dotted patterns and ribbons decorate Hill’s surfaces to enhance the air of fantasy as the curve of a hip or a perfectly-ripe piece of fruit entice the viewer to enter an opulent boudoir.
Daphne Hill’s most recent series of paintings is a trap.
“Anxiety is the impetus for my work,” according to Hill, and boy, is she not kidding. If at first you are drawn in by their doily-drenched sweetness, the narratives of her confectionary dreams quickly unravel into dark, dirty little secrets that nobody wants to think about, much less mention. In this series, Hill has wrestled the subject of venereal disease to the floor, dressed it up and taken it out on the town for a good time. Slick resin surfaces pronounce their clinical sterility while black silhouettes of men and women entice, engage and exchange with each other. Her intense use of ornament serves as an aesthetic foil for the biological imprints of bacterial diseases which, in their macroscopic representations, become celebratory fireworks and streamers. The resulting compositions camouflage the diseases and enforce a formality by which we understand the limits of what we are encouraged to discuss.
Hill’s paintings are affronting narratives of saccharine and salt all rolled up into big balls of “let’s not talk about it.” As such, they express one of the basest anxieties of the human condition: if it’s going to be fun, it has got to be dangerous.
Hatheway Curatorial is a series of rotating exhibitions, developed and curated by Teale Hatheway, taking place at Barbara’s, the restaurant/bar hidden in the heart of the Brewery Arts Complex. The Brewery is considered the world’s largest live-work arts complex with an estimated 500 resident and day-use artists representing every field of creation. Barbara’s provides a welcoming environment for artists, art lovers, musicians, writers and business people to meet, exchange ideas and cut a little loose. As a curatorial project, Barbara West at the Brewery provides a forum for resident and non-resident artists who are actively pursuing creative development. Additional information about Barbara West at the Brewery can be found by visiting us on ArtSlant.com.
Hatheway Curatorial is pleased to present “Intangible Mass” a selection of recent paintings by Julia Pinkham.
Pinkham’s current series of abstract paintings in mixed media and acrylic on canvas are inspired by natural forms and in particular, the ocean. They exhibit her dexterous understanding of color and quality of line, and achieve continuity between seemingly disparate painting styles.
The freedom with which Pinkham’s hand moves through the composition of a painting draws on the intellectual split between seeing and rendering inherent in the practice of abstract expressionism. However, Pinkham breathes new life into blocks of color and scratchy patches with gradations and shadows. The suggestion of a third dimension imbues her abstract elements with vague objecthood. The effect is entirely surreal, giving gestures volume, flat areas depth and morphing impulsive shapes into personalities. Emotionally, Pinkham’s paintings are representations of objects which could never exist.
Hatheway Curatorial is pleased to present “Mr. Sandman,” a selection of sculptures by Sean Sobczak in which themes of nature, fantasy and technology coalesce into surreal studies of form, fun and discovery.
Sandman, Sobczak’s occasional moniker, is a character from western folklore who brings good dreams to children by sprinkling sand in their eyes while they sleep. This name has proven an apt pseudonym for the artist who discovered his life calling toward sculpture in the summer of 2001 while attending his first Burning Man art festival in the middle of the Black Rock Dessert in Nevada. The boundless creativity with which he found himself surrounded incited in him a drive to create, and create he has: with a fervor that takes him working late into the nights, his warehouse door rolled up, and his sparkly universe of friendly creatures beckoning to any and all passers-by. In sharing the inspiration he wrought from the dust-covered festival over a decade ago, Sobczak has become a Sandman himself; a puppeteer sprinkling the dust of his dreams into the sleeping eyes of onlookers.
Using a combination of steel wire, imported fabrics and various forms of illumination, Sobczak uses delicate curves, rich textures and warm colors to infuse his pieces with a gentle, dreamlike surrealism, encouraging the viewer to experience his sultry forms and natural wonders with a
Hatheway Curatorial is pleased to present “Exploding Tattoos,” a collaboration between artists Anna Stump and Ted Meyer, in which the duo paint and document their art performances which expand large, single-image tattoos beyond the confines of the bearers’ bodies thereby blurring the lines of personal perception and universal observation. This series of performances is spurred by the artists’ interest in the intersection of personal expression, art consumerism, traditional/tribal imagery and popular culture.
In response to the body-art of their chosen model, Stump and Meyer design a 9’ x 8’ painting to surround the subject, photographing the process at each stage of creation. The work exists as a performance between painter, photographer, and model. Each performance is executed, start to finish, in three hours.
Hatheway Curatorial is pleased to present California City - Land of the Sun, a photographic essay by Hollye Chapman.
For fifty years, California City has lured young dreamers, jaded city dwellers and disenfranchised classes with the promise of owning land in California – investment property, silence and an affordable roof over one’s head. But California City is a far cry from the dream of land developer Nat Mendelsohn, who in 1958, bought 80,000 acres of land in the Mojave Desert and designed his dream city. Mendelsohn intended to attract overflow from the population boom taking place in Southern California by offering a city which rivaled Los Angeles in scale and scope. Speculative land sales soared in the first decade of California City’s existence, but houses were not erected and industry never arrived. Today, California City is the state’s third largest geographic city (35th largest in the United States) with a population of merely 13,123. It is a vast plan of crumbling, unnamed roads reaching deeply into the desert, slowly – very slowly, being reclaimed by the land into which it is carved. California City and its residents are the embodiment of the American dream unrealized yet not vanquished.
Over the course of eight weeks in the late winter of 2011, Hollye Chapman uncovered the story of California City through the lens of her camera. The result is a beautifully executed body of work exemplifying the serenity, desperation, contentment and resignation of a city which has failed to reach its goals, but refuses to disappear.
Hatheway Curatorial is pleased to present 1984, a group exhibition featuring works by Ray McSavaney, Stix and Jones, Lola Ramona, Beau Lambert and James Weir. This collection of works includes practices of painting, drawing, mixed media and photography, as well as studies of figurative, architectural, landscape and still life subjects. What connects these pieces are their creators, all of whom work in “1984,” the Brewery’s most easily overlooked and under explored address. Please join us for the opening on Wednesday, April 6th to celebrate the genius of climbing the fire escape.
Vern Evans and Elyse Graham
Hatheway Curatorial is pleased to present Carbon Black, an achromatic exhibition, pairing never-before-shown rock n’ roll photographs taken by Vern Evans with the temporal, living sculptures of Elyse Graham. On the surface, the show revels in a playful combination of clusters of balloons and frenetic rock concerts, but closer inspection reveals fully visceral and intuitive works. Graham and Evans focus on capturing fugitive moments of raw energy and have refined their meditative capacities in terms of patience, attention and physical endurance to seize sobering expressions of passing time and fleeting youth.
Living the Dream
For me, being an artist is more than painting alone in my studio. I am inspired by other artists, off-beat adventures and spectacle. I curate exhibitions, collaborate on large public art installations, am an occasional color consultant and interior designer and sometimes I sculpt. I seem to do a lot of writing, but that's just business. I live an art-filled life. Thanks for coming along for the ride.