Terry Welker

May 23 – July 25, 2014

Opening Reception: May 23, 2013 from 7-10 PM

Making mobiles comes from my passion for architecture, poetic space and meaningful places. Building on the tradition of Alexander Calder, Terry Welker says. I work to understand and extend the language of mobiles by animating form, space and surface with motion. 

Working with abstractions, without the restraints of literal interpretation, many of my forms come from my memory of a shape rather than a direct adaptation. I also see the process of creation as an intentional act of ‘making’ that comes from experimentation, trial and error, letting form come from the nature of materials and tools. Seeking simplicity and elegant strength in every composition, I use curves, arcs, and lines as continuous sub-theme as if to draw three dimensionally in space. 

The unique character of mobiles reveals the inherent challenge of gravity and the mystery of delicate balance. Seeking to push the limits of form and space with these forces I work to orchestrate ‘near misses’ and enable ‘soft collisions.’ The unpredictable and accidental nature of these movements allows the observer to move beyond simple viewing and become unconsciously engaged in the enjoyable act of “watching.”

–Terry Welker

 

Project Space:

Jennifer Omaitz, Solid Movement

May 23 – July 25, 2014

Opening Reception: May 23, 2013 from 7-10 PM

Solid Movement currently seeks to slow down the movement of the gesture–the gesture as an icon or symbol of 20th century painting. How can it be re-prioritized? Gesture is a symbol or partial symbol for geology (geography) as present in stillness, thing-ness, or as a point that describes a quiet moment of the Abstract. This place in the painting, the intention of the artist and the intention of the delectable in the paint; the intention of the mark as it fights with its presence on the surface of the canvas (or paper, or substrate); painting as document of state change and design affect.

The state of the paint is currently solid. Paint moves from solid to liquid. Scientifically speaking perhaps the invisible component is the hand of the artist. How can gesture tap into movement without being literal? How can a painting touch or trigger memory of interior and exterior spaces? 

 

–Jennifer Omatiz