July 3 – August 22, 2021
Jean-Marc Superville Sovak
475 MAIN STREET | BEACON, NY
Saturday, July 3, 6–8pm
MV Carbon + Ka Baird, 8pm
Fridman Gallery is pleased to present Time Lapse, a group exhibition of artists living and working in the Hudson Valley. This is the second exhibition at the gallery’s Beacon location.
Time Lapse looks at memory as a parallel dimension, in which it is possible for objects, events, and stories to travel through temporal and physical spaces, to a setting where they are perceived in a different light. The artists in Time Lapse recontextualize and reimagine relationships among materials, beings, and environments, elucidating the liminal threshold between the existence of a thing and its perception.
Carl Grauer’s painting of a burning bush is composed of thirty-six individual squares painted on different days – multiple timestamps of the same object existing simultaneously. Kazumi Tanaka’s indigo ink drawing of a pond’s reflection of a forest references the artist’s connection to her mother, and in a broader sense, reflects on memory as continuity.
Alison McNulty suspends a fragile hemlock branch horizontally against a blank sheet of paper, exploring a threshold between self and other, between human and geological time.
Liz Nielsen’s photogram, superimposing intensely colored triangles over a leafy forest, is a portal into sacred geometry, a landscape that is somewhere and nowhere at once. Mollie McKinley’s alchemic sculptures of glass, salt, and light are hybrids of the ancient and of the future, embracing the discomfort of our inability to comprehend the unknown. Millicent Young’s hanging installation made from grapevine and horsehair is a meditation on the capacity of materials to bear witness and embody memory, independently of our own.
Gerardo Castro burns the outline of his body on paper, adding symbols and thin washes of indigo dye and paint, a powerful gesture of mind-body connection and transformation. In Shanti Grumbine’s cyanotypes, the artist’s pregnant body interacts with mysterious shapes, seemingly transmitted from a dimension where different laws of physics apply.
Meg Hitchcock’s trans-figurational works on paper juxtapose enigmatic abstract shapes with passages of text composed of letters cut out from sacred books. Jean-Marc Superville Sovak reimagines 19th century engravings of bucolic Hudson Valley landscapes with African Americans as protagonists transcending their historical context. Alisa Sikelianos-Carter’s drawings glimpse a cosmos inhabited by “afronauts” who jumped from slave ships into an underwater world pulsing with ancestral majesty and power.
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