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The James

Winter Art Garden @The James

  • Open to the public in the Urban Garden from Dec 11 - March 31, 2014 from 9am - 5pm. 

    Still Moving, curated by Recess, features the work of five New York City-based artists whose sculptures initiate a chatter of heat and motion in an otherwise still and icy winter landscape.  These artists continue a conversation initiated by existing installations from Molly Dilworth and Mike Calway-Fagan.  Constructed specifically to answer wind patterns, elevations, and accumulating precipitation of an outdoor garden, these works all reference the artists’ warm hands in contact with raw material’s weathering composition.

    Raw material’s response to weather tells a story about vulnerable internal structures. Like skin that cracks after days on the water, metal, glass, and wood succumb to surrounding conditions stronger than their composite elements. Hands serve as dominant heat sources. Like weather patterns, fingers place pressure on steel joints and wooden frames. A gloved hand’s pressure on a cold surface begins a call and response between body and matter that belies a viscous center in both: a malleable, moving center. For Still Moving, five New York City-based artists developed sculptures that initiate a chatter of heat and motion in an otherwise still and cold winter landscape. 

    Garden Art Sculptures

    Beth Campbell, "If it is possible it's possible" 2013
    Piece makes sculptural a quirky line drawing or diagram.  There is a sense of instability and indecipherability  in the meandering nature of the line and the movement in the multiple parts.  This is an attempt to get at the veiled instability or slippage of things.

    Dave Hardy, Rive Gauche, 2013
    Balancing the precarious structures of interiority—from the physiological to the architectonic—with the brazen forces of externalized expression and brute will to form, Hardy's sculptural works depict an unrelenting tension.  The work captures the paradoxical demands of contemporary artistic life, where each new gesture appears at the brink of collapse.

    Marie Lorenz, Flotsam Garland, 2013
    The flower garland is often a symbol of celebration but also of impermanence, temporality, the passing from life to death. In India, flower garlands are used in temples, designed with horticultural rules passed down from generations. These Flotsam Garlands are made from things found on the beach, already subject to the ravages of time and tide.

    Alina Tenser, Untitled Screen II, 2013
    Tenser's Screen is to be simultaneously, looked at and looked through.  The surface is reflective and translucent, allowing the viewer to experience a polar state of their image being bounced back to them and their vision going past the image, essentially looking past themselves.

    Jeff Williams, Supernatant Fossil, 2012
    Williams sets up material experiments in which natural and industrial components interact to change or break down existing compositions and structures.  Here, a series of floor sculptures contain Central Texas fossils, resting on weathered plexiglass sheets.  The weight of the fossil produces a concavity in the plexiglass, which is filled with a puddle of calcium sulfate (gypsum).  The fossils slowly wick the chemical solution over time and accumulate gypsum deposits.