Rebeca Bollinger, Still Life with Fly Swatters and Holes, 2015.
Glazed and unglazed ceramic and porcelain, acrylic, spray paint, flashe, wood clothespins, plastic bags, photographs, brass knob, screws, wall rack, door number, foam, plaster, shims, wood, casters, potatoes, acorns, fly swatters, cardboard, porcelain with silver handle, artificial strawberries, gaffers tape. Size variable.
Gesture/Fragment/Trace | Rebeca Bollinger, Dana Hemenway and Sean Talley
Interface Gallery is pleased to present gesture/fragment/trace, featuring new work by Rebeca Bollinger, Dana Hemenway and Sean Talley. Loosely connected by the fragmentary, gestural nature of their work, these artists each create objects that function as traces or records - be it of a process, memory, story or specific thing. They are cast, shaped and extruded, minimalistic and iterative. Beyond these relationships, their practices—subjects, materials and approaches—are as distinct as they are interesting.
Bollinger works with fragments, storytelling and archives, responding to the fluidity of the way
the mind makes meaning. Her works function like snapshots from a larger stream, presenting traces and remnants and exploring the conflation of solid and ephemeral. Bollinger’s piece in this exhibition stems from her thinking about dementia and the mind as a kind of disintegrating archive.
Hemenway presents silicone and urethane casts of brass and steel mounts that are used to support and conserve objects in the collection of Oakland Museum of California. No longer hinged to the objects they once so carefully supported, the shapes take on a strange sense of chance. Existing both as referent and something new, they invite questions about the line between artistic production and labor. Finally, Talley makes meticulous graphite-powder drawings that start out as whimsical laptop doodles. These are accompanied by more spontaneous steel sculptures that playfully echo marks and gestures in the drawings.
Gesture/fragment/trace allows space for viewers to fully engage with the conceptual and poetic aspects of each of these artists' work, independent of one another. Meanwhile, the proximity of the work invites interesting resonances and connections to emerge.
Dana Hemenway, Untitled (Object Mounts), 2015.
Silicone, urethane, plaster, brass and steel object mounts borrowed from the Oakland Museum of California, bolt-less storage shelf, wood.