After-Hour: Carrie Hott
January 2- February 1, 2015
Reception: "After Hours," Friday, January 2nd, 6-9 pm
After Hours: After normal working hours, after closing time; also, after legal or established opening hours. For example, “I haven't time while the shop is open, but I can see you after hours”
Before the widespread use of lamps, night was its own frontier, an isolated time that accommodated recuperation, time with family, or hidden activity, often around one light source. As artificial light sources became more widespread, and industrial labor developed on a larger scale, the night became an extension of the day, often enabling the force of extended productivity, greater output, and longer work hours. However, when possible, light after dark also made it possible to envision new possibilities, segment time for personal creative work, unsanctioned gatherings, often between women, and the development of relationships outside of family or a job.
Expanding on Hott’s ongoing work that often explores the relationship of artificial light to social experience, and drawing from the retail context of Temescal Alley, After-Hour re-envisions Interface Gallery as a lamp shop, perpetually after hours. Set up to shadow the familiar experience of a room full of objects for sale, the installation sidesteps the bright, sparkly retail experience for an imagining of what occurs when you’ve closed up shop. As a shadow of retail hours, unattended and lights out, After Hour brings together sculptural forms utilizing lamp shades and light fixtures to echo the experience of a lamp store, only the shop is closed, the curtains are drawn, and the lamps don’t work. Accompanying the objects is a site specific sound created by Hott in collaboration with musician Laura Steenberge, set to crescendo in intervals to mark the passing of the work-day clock.
The exhibition builds on Hott’s interest in the equalizing power of the dark, the historic role that the development of artificial light has played in self-organizing, and the ongoing and roving delineation of work time and personal time. In conjunction with the Happy Hour on January 15, Hott will be releasing an 'Hour After Reader', printed by COLPA Press and supported by Interface Gallery. The reader includes some images of the research that helped to inform the work created in the exhibition, as well as selections and contributions from other local and beyond after-hours workers including Luca Antonucci, BONANZA, Sofía Córdova, Aurora Crispin, ERNEST, Ian Dolton-Thornton,Brett Goodroad, Pablo Guardiola, Emily Hunt, Cybele Lyle, Martin Machado, Ortega y Gasset Projects, Emma Spertus, Stairwell's, Laura Steenberge, and Cassie Thornton. (After-hours workers meaning those who have a job and then make their work in their after-hours.)
Carrie Hott is an interdisciplinary artist based in Oakland, California. Hott received her BFA from Arizona State University in 2003 and her MFA from the San Francisco Art Institute in 2007. She has present her work as part of exhibitions and projects across the country, most recently at the Headlands Center for the Arts and Southern Exposure in the bay area, as well as public programs at the Oakland Museum of California and the International Symposium on Electronic Arts in Albuquerque, New Mexico.
Shipping+Receiving: Feral City
Sunday, November 2nd - Sunday, November 30th
Reception: Friday, November 7th, 6-9 pm
Feral City is an engaging, interactive project about being wild in the city. It's a shout out to the urban wildlife that doesn't usually make the picture books.
We're living in the age of the opportunistic mesopredator -- inventive, resourceful, abandoning traits that were once useful, but are no longer. Being wild in the city means not getting too large, not too attached to any one food source or habitat. Much like modern humans, they've learned to freelance.
Shipping+Receiving will showcase this urban wildlife in a variety of ways. For the length of the show, they'll capture images of nocturnal wildlife, using a motion-sensor infra-red camera, steadily adding images to the gallery walls. Gallery visitors will be invited to add their own wildlife sightings to an interactive map and peruse a series of limited edition prints and 90's-style trading cards with fun facts about the heartthrobs of the East Bay urban wildlife scene. Additionally, Shipping+Reeiving will host a talk and nature walk with Lila Talcott-Travis from Yggdrasil Urban Wildlife Rescue and a reading by science writer Nathanael Johnson, author of All Natural, from his new book, which is all about urban wildlife.
Sundays in November @ Interface Gallery
Shipping and Receiving artist, Torreya Cummings, will be in the gallery, adding to the collection of nocturnal wildlife photos taken in the area and talking with gallery visitors about their local wildlife sightings.
Sunday, November 9th, 2 pm @ Interface Gallery
Talk and Nature walk with Lila Talcott-Travis from Yggdrasil Urban Wildlife Rescue
Lila Talcott-Travis will introduce us to the common (and uncommon) wild residents of the Temescal neighborhood. She'll do a brief talk in the gallery to show us her collection of squirrel nests and other props and photos, and then take us on a walking tour of the local area, scouting out habitat that we share with a variety of other species.
Sunday, November 16th, 2 pm @ Interface Gallery
Reading with Nathanael Johnson, from his book in progress about urban wildlife
Nathanael Johnson is an unnatural nature writer. His first book, All Natural, dug into science supporting the idea that "natural" is healthy. His new book, a work-in-progress tentatively titled Unseen City, is about learning to see the invisible forms of nature living in the city. Nathanael has written for Harpers and New York, worked as an editor for Meatpaper, and is the food writer for Grist.org.
This exhibition is supported by funds received from Southern Exposure’s Alternative Exposure grant.
Shipping+Receiving is a collective consisting of Torreya Cummings, Heather Smith, and Audrey Nieh, who bring together their experience as visual artist, designer and science writer to a practice dedicated to exploring the movement of ideas, species, cultures and stories.
Bonanza VI: Eighteencharacters
Wednesday, October 1st - Friday, October 31st
Reception: Friday, October 3rd, 6-9 pm
“The first rule of naming a horse is that a name may consist of no more than 18 letters, and spaces and punctuation marks count as letters. Eighteencharacters is acceptable (and is, in fact, a registered horse name) but Eighteen Characters is not.” (From The Jockey Club Registry, established 1894)
Interface Gallery is pleased to present Eighteencharacters, featuring Bonanza, the collective practice of Conrad Guevara, Lindsay Tully and Lana Williams. Taking inspiration from the horse races at nearby Golden Gate Fields in Berkeley and the gallery’s history as turn of the century horse stable for the local horse-drawn trolley, the exhibition is titled after a naming convention used for race horses.
Examining the performativity of identity through stage names like those given to race horses – Midnight Lady, Mark of a Gem, Lil Swiss Echo - Bonanza finds a metaphor for their own collective practice, which is similarly playful and strategic.
Just as the act of naming attributes, masks, and alters meaning, implicitly revealing the imitative structure and contingency of naming itself, Bonanza’s shifting interplay of sculpture, film making, and painting, and of individual and collaborative works, examines contingency through a collapsing and continuity of their work as a spirited partnership. As the distinctions between individual practices blur and the collaborative exercise becomes more concrete, the artists challenge the value of authorship and the fixity of identity by taking on their own stage name – Bonanza.
Back in the Saddle Again.
Bonanza is the collective practice of Conrad Guevara, Lindsay Tully, and Lana Williams. The formal cohesion of a film maker, sculptor, and painter is the result of their shared way of thinking and making. Bonanza centers around ideas of abstraction, questions authorship, and dismantles ideas of the heroic artist. They have exhibited at Artists' Television Access, n/a, and S.H.E.D. Projects in the Bay area.
No Person is Without a Shadow: Manuel Angeja and Laurie Reid
Wednesday, August 13th - Saturday, September 27th
Reception, First Friday, September 5th, 6-9 pm
Laurie Reid and Manuel Angeja both embrace practices that emphasize materiality, allowing for fluidity and ambiguity. In each, loose mark making and subtle washes suggest and deny meaning.
In their exhibition together, they present works that echo and mirror one another, like shadows - shadowing one another as artists - objects, paintings, and marks within the works, shadowing each other and the space in which they are installed, and vice versa.
Angeja contributes paintings and an installation, while Reid contributes several small water colors and a series of small, glazed ceramics that are so integrated with the space that they are at times difficult to discover.
There is a subtle building of relationships and connections within and across works, allowing for shifting relationships and interpretations to emerge. This is particularly felt while one is flipping through binders full of paintings on graph paper that Angeja has contributed on a low table. As colors and shapes of the works change and binders are left open to new pages, there is a noticeable sense of the relationships to the other works and the space itself changing.
What is real, the original or its shadow, and which work is by what artist is not important. Rather, the fluidity of relationships, a kind of slippage or interchange is highlighted.
Tamra Seal: Irresistible Forces
Wednesday, June 11th - Sunday, July 13th
Opening Reception: Thursday, June 19th, 6-8 pm
Interface Gallery is excited to present, Irresistible Forces, a solo installation of new work by Tamra Seal. Drawing inspiration from such disparate sources as industrial design, film and Tantric tradition, Seal creates abstract sculptures that are both strange and oddly alluring. They operate simultaneously as prop, set, and transformational vehicle, drawing us in and eliciting surprising emotional responses.
Inspired by the films Forbidden Planet and All About Eve, works in this exhibit suggest the otherworldly, vanity and desire. Materials range from polished, fabricated, fluorescent, acrylic rods to an 800-pound rock, tool dipped with fluorescent paint, and appearing as though from another planet. Fur Muff Zoetrope - a veritable one person stage for reveling in status and glamor, symbolized by the white fur muff at its center - evokes a desire to reach out and touch the soft, tactile muff. Smooth, pink, fluorescent tubes suggest stage lights and the whole piece reads as some kind of weird teleportation device.
Seal is drawn to fluorescent colors for the "inherent light" they emanate, which is at once inviting and self-contained, like the works themselves. While the objects seems to exert an irresistible pull, activating the senses and making us want to touch, explore and even enter, we cannot actually physically engage with them. Instead, they initiate a heightened state of awareness, awakening some dimly remembered place within our psyche and provoking our reflections on the experience.
Tamra Seal received her MFA from The San Francisco Art Institute in 2013. She was recently selected by Berkeley Art Museum curator, Dena Beard, for the 2014 Bay Area Currents exhibition at Pro Arts Gallery. Later this year, she will have shows at Studio 110 Projects and Ever Gold Gallery.
Fictions: Tressa Pack
Wednesday, May 14th - Sunday, June 8th
Artist's Reception: Friday June 6th
"Within the mute landscape it is the lights that offer us a place - a fiction, to reside in." - Tressa Pack
Interface Gallery is pleased to introduce Fictions, a compelling series of twelve immersive landscape photographs by Tressa Pack. In these works, Pack makes the tools of “photographic fiction” visible, placing lights, stands, silks, clamps, and power packs, in a variety of seemingly passive landscapes.
While the landscapes, placement, and organization of the equipment vary, in each image, the highlighted space where the subject normally resides is empty. The photographs simultaneously denote this absent subject, while alluding to the presence of the maker.
Interestingly, while Pack exposes the tools of photographic fiction, she also utilizes them, making deliberate aesthetic choices that subtly operate on the viewer. The result is series of images that are rife with underlying, albeit ambiguous, narrative tension.
This series was conceived while Pack was a graduate student at Mills College. Individual images from Fictions appeared previously in Pro Arts Gallery's Bay Area Currents Exhibition as well as at Interface Gallery. However, the series is presented here for the first time as a complete set of works. Pack presents five, 40x55" prints from the series, accompanied by a new book of all twelve images, and an edition of 17x22 prints.
* Pack will also introduce a secondary body of work, Textblocks, which acts much like a collection of footnotes to Fictions. The images are made up of blocks of text taken from famous fictional works by such authors as Samuel Beckett, H. P. Lovecraft, Virginia Woolf, and Joseph Conrad. Like the images in Fictions, the text blocks take a distanced look at the tools of fiction, allowing the viewer to reflect upon how our narratives are constructed for us, while simultaneously drawing us into them.
Producing Space: New Works by Aaron Finnis, Cybele Lyle,
Amy M. Ho, and Emma Spertus
Wednesday, April 2nd – Sunday, May 11th, 2014
Opening Reception, Friday, April 4th 6-9 pm
Left:Emma Spertus, Work in Progress, 2014 Right: Amy M. Ho, Stairwell with Brick, 2014 (image courtesy of Chandra Cerrito Contemporary and artist)
Producing Space introduces new site responsive works by Aaron Finnis, Cybele Lyle, Amy M. Ho, and Emma Spertus.
While pursuing distinct practices, these four artists similarly work with re-purposed images, materials and existing spaces in ways that reference normative modes of representation, while also subverting them, instigating psychological responses and suggesting new possibilities. To varying degrees their architectural and material manipulations call attention to and critique the cultural production of space, exploring relationships between illusion and reality, constructed space, constructed subjectivity and power.
For Producing Space, the artists literally produce a new space, or set of spatial possibilities, within Interface Gallery with site responsive works that are simultaneously surreal, playful and subversive.
Three out of four of these artists share studio space in an Oakland studio, aptly named "Real, Time and Space," which was founded by Spertus. The artists first exhibited their work together in 2011 in a show at The Lab entitled, "A Floorless Room without Walls." Interface Gallery is pleased to bring their work together again for this exhibition.
Endograft - An installation by smith|allen
Interface Gallery is excited to announce an innovative, spatial intervention in the gallery this March, created by art & architecture team, smith|allen, and constructed using 3-d printing.
An undulating partition, Endograft will be a large-scale work that redefines and transforms the space, calling attention to its palimpsest history. Built in the first decade of the 20th century and originally serving as a stable for the neighborhood's horse drawn trolley, the space Interface Gallery inhabits retains many structural and aesthetic aspects of the original building: the footprint, the slanted ceiling, and aged brick, with the addition of two skylights that flood the space with natural light.
Endograft forms a division within the gallery, creating a sheltered area of light behind the partition. A simple divide, a noticeable change in one’s experience. This spatially interactive installation immerses the viewer in the realms of history and experience as mediated by technology. Comprised of 3D printed components, its surface texture responds to the dynamic layers of patterning in the architecture. With its tessellated pattern hinting at the space's patchwork history, Endograft temporarily becomes another facet, another part of that history.
Smokey's Tangle Takeover!
This February, Interface Gallery invites fellow neighborhood art space Smokey’s Tangle to take over! Brainchild of Brian Brooks and Emily Wick, Smokey’s Tangle is a playful, interactive gallery that also serves as the artists’ personal art studios.
Oft mistaken for a head shop, Smokey's Tangle occupies a storefront on Telegraph Avenue (near 48th Street). It is tucked between a Korean BBQ and the Maya Motel, whose sign it emulates - an indication of the artists' humor, and a reflection of their intention to blend in, mirror and include the neighborhood.
This takeover – a residency of sorts – comes on the 5th anniversary of Smokey’s Tangle and will celebrate the range of activities that take place there. Wick and Brooks will each present examples of their recent work; tiny trompe l'oeil oil paintings by Wick, and quirky, humorous paintings, drawings and prints by Brooks. Wick will even paint in the gallery during open hours and Brooks will unveil his latest book "What If? Volume 2.”
A book commemorating five years of projects at Smokey’s Tangle will also be released at the artists’ reception. And, in the spirit of these fun, interactive projects from over the years, the artists will install a photo booth, inviting visitors to dress up and get their photos taken. These photos will be added to a diorama of Temescal that will build up over the month and a final “group photograph” of all the “participants” in the diorama will be taken at the end of the month (and made available for download on the Smokey’s Tangle website). Brooks and Wick will also host a series of weekly evening events throughout February.
This show is intended to be accessible, interesting and fun. Interface Gallery is pleased to be introducing these artists and the playful spirit of Smokey’s Tangle to the Interface community.
Taking Stock | An Invitation
This January, Interface Gallery celebrates the New Year by offering a space for visitors to pause, rest and reflect. The gallery has been transformed into a comfortable sitting area with a living room like feel and will be a technology and commerce free zone for the month. Visitors are invited to spend time in the space doing restful activities. Whether reading, knitting, writing in a journal, or just sitting quietly, they are encouraged to take time to sit down, be at rest and quiet their minds.
Throughout the month, a calming tea is being offered (sourced from gallery neighbor, Homestead Apothecary), and interactive activities invite reflection and collective sharing on the topic of rest, the impacts of technology on personal well-being, and our intentions/aspirations for the New Year. Interface Gallery is also providing hour-long childcare sessions (by appointment) so that parents are able to participate in this opportunity for resting and “taking stock.”
This project is made possible by a grant from the Awesome Foundation.
The Company You Keep: An Installation by Kelly Inouye
Friday, November 1st - Sunday, December 1st
Opening Reception, Friday, November 1st, 6-9 pm
This November, Kelly Inouye will expand upon her ongoing series, The Company you Keep, by creating a large-scale installation for Interface Gallery.
The Company You Keep references Mutual of Omaha’s Wild Kingdom, the archetypal nature show in which Marlin Perkins sent Jim Fowler to study animal behavior in particularly dramatic made-for-TV ways. A riveting nature show in its time, Wild Kingdom might also be seen as a strange mechanism for advertising insurance.
Equal parts anthropological study and comedic send-up, Inouye’s installation examines the show as a time capsule reflecting the mentality of the era in which it was created. Themes explored include: the application of science to investigate mysteries of the natural world, the use of language to elevate the importance of a project, having the best intentions but being unable to foresee unintended consequences, and above all, Man’s classic literary struggle with Nature. Inouye's work highlights the incongruity of the show's slogans considering the current state of our healthcare system and reveals almost sinister undertones of the show's patriarchal tropes.
Inouye's installation consists of large drawings, handmade wallpaper, an interactive sculpture, and a recreation of part of the Wild Kingdom set. There will also be a small reading area featuring texts that address the complications associated with the intersection of science and entertainment.
Inouye has long been fascinated with the idea of collective memory and it’s more obscure aspects. Her work has been exhibited nationally at venues including Morgan Lehman Gallery and The Lower Manhattan Cultural Council in New York and Southern Exposure and the Berkeley Art Center in the Bay Area. Her paintings have also been featured in Watercolor Magazine and New American Paintings. She is a graduate of UC San Diego in La Jolla (BA 1998) and The San Francisco Art Institute (MFA 2008). This will be her first large scale installation-based project and brings an exciting new direction to the themes she explores.
A limited edition print, drawn from Inouye's series of drawings has been commissioned by Interface Gallery and will be released with the show opening.
Manzanita, Yarrow, Nettles, Sweet Gum, and Jade
Wednesday, April 3rd - Saturday, April 27th
Throughout April, Interface Gallery becomes a studio/laboratory/workshop space for exploring and visualizing the invisible qualities of medicinal plants familiar to the Bay Area - stimulating the senses and inspiring wonder at the rich possibilities that the plants around us offer.
In this ongoing, process-oriented exhibition, artists Susanne Cockrell, Sasha Duerr, Alyssa Pitman and Suzanne L'Heureux will collaboratively represent their research and experimentation with specific local plants. Additionally, they will convene in the gallery each Thursday, from 4-6 pm, to engage in new explorations and visualize their discoveries. These "Thursday Sessions" will include activities such as tasting kefir waters infused with new medicinal plants each week, and helping brew natural dyes, made with medicinal plants found in the surrounding Temescal neighborhood. Each week a new "neighborhood dye" will be brewed!
Allowing for further collaboration and experimentation, gallery neighbor, Nicholas Weinstein of Homestead Apothecary, has scheduled a series of workshops that will take place at Interface Gallery on Sunday afternoons throughout April. Planned together with Interface Gallery's support, these workshops will be open and free to the public.
Workshops for this Show Included:
- In the Kitchen: Herbs and Nutrition with Jennifer Lung
- Growing Medicinal Herbs in the Garden with Robin Pickard-Richardson
- Making Flower and Gem Essences with Jenny Pao
- An Introduction to Western Herbal Medicine with Joshua Muscat
Interface Gallery is able to offer a small stipend to instructors for their time thanks to support from the Kenneth Rainin Foundation. Further donations greatly appreciated!
Infinitely Bound: New Work by 3 Bay Area Artists
Infinitely Bound is a multi-media installation of new work by Michael McConnell, Masako Miki and Crystal Morey.
Deeply aware of the infinite ways that all living beings are interdependent, each of these artists imaginatively engages animal imagery to provoke thought about how we interact with other species and our environment and what implications this will have for the future of our planet. Works presented in this show touch on themes such as genetic mutation and evolution, the imbalance of the natural order due to human influence, and the psycho-spiritual impacts of our destructive relationship to nature.
In addition to new works created independently, the artists will present a collaborative, interactive sculpture that invites viewers to actively engage with the subject matter, making connections and stimulating new ideas.
And the Crowd Had Rushed Together, Trying to Keep Warm
New Work by Alicia Escott
Throughout her career, Alicia Escott has been exploring what it means to bear witness to the anthropocene and one of the greatest periods of global change. Continuing with this theme in her solo show at Interface Gallery, Escott presents works that both subtly and overtly evoke the unfulfilled utopic visions of the 1960’s and 70s: the show's title is a line taken from a pop song released in 1970. The song, like Escott’s work, alludes to both a hope for its time and a sober awareness of the history of humanity and the force of evolution.
Works in this show take a look at consumer culture and the tropes of advertising while ultimately, underscoring a sense of both the fragility and futility of the human condition. Through a combination of drawings, sculpture, photographs, videos, and text, “And the Crowd Had Rushed Together, Trying to Keep Warm,” evokes an ideal that, while we watch it commodified before us, we still long for… and continues to elude us.
Read the reviews:
Alicia Escott at Interface Gallery | The Wild Magazine | Abigail Doan
Alicia Escott's Vision | The San Francisco Chronicle | Kimberly Chun
Opening Reception, Friday November 2nd, 6-9pm
EAST BAY EXPRESS ARTICLE
This exhibition made possible by the following sponsors:
Interface Gallery presents Food Shift, an exhibition dedicated to exploring the social, environmental, and human impacts of wasted food.
This exhibition is inspired by and designed to call attention to the work of Bay Area organization, Food Shift. Food Shift is dedicated to engaging, educating, and empowering communities to reduce food waste.
Works presented and interactive activities offered during this exhibition look critically at problems within our current food system and present creative alternatives that engage the public as part of the solution.
Workshops That Took Place During This Exhibition: (scroll down for full event descriptions)
- Live Silkscreening Event at Opening Reception
- Westlands: The Politics of Water and Agriculture in the San Joaquin Valley: A Discussion with artist Cynthia Hooper
- Dinner to Dye For
- Film Screening of Dive: Living Off America's Waste, followed by a discussion with - Dana Frasz, director of Food Shift and Special Guest, Dana Gunders
- Foraged Fruit Forever! A FREE preserve making demonstration
- Roundtable Discussion: Rethinking Systems to Promote Sustainability
WILD & FREE
October 3rd - October 28th
Opening Reception Friday, October 5th 6-9 pm
Mary Ann Kluth, “…and worse than all the rest, over big bowlders for a mile or two—bowlders piled thick together as only the sea can pile them.” (sic) p.51, archival inkjet print on Hahnemuhle paper, 36 x 48 inches, 2012 (Represented by Gallery Wendi Norris)
Inspired by Gary Snyder's The Etiquette of Freedom, this exhibition explores the way western culture typically thinks about and relates to wildness. In so doing, it also attempts to visualize an alternative more holistic relationship to the environment, which, for Snyder, is the path to true freedom. Included works interrogate mythic constructs of sublime and abundant nature and critique how the landscape has been packaged and sold under the auspices of the American Dream. They also draw from the good humor, simplicity, and gratitude that Snyder finds in nature and believes "brings us close to the actually existing world and its wholeness."
Opening Reception: Including an interactive carving experience with artist Nathaniel Parsons - Friday, October 5th, 6-9 pm
Artist Talk: Mary Anne Kluth, Nathaniel Parsons, and Clare Szydlowski - Sunday, October 14th, 4 pm
Carving and Talking with artist Nathaniel Parsons - Sunday, October 21st 1-3 pm
September 5th - September 30th
Opening Reception, Friday, September 7th, 6-9 pm
Interface Gallery is excited to announce its inaugural exhibition - in·ter·face. An interface is a common boundary, a point of contact, something that joins, causes to interact, mediates and predicts or shapes behavior.
Works in this exhibition explore the concept of interface in diverse and engaging ways. Participating artists are exploring themes such as: how our values and perceptions are mediated, how we navigate through space, engage with our surroundings and communicate with one another.
Opening Reception - Gallery Social with interactive activities - Friday, September 7th, 6-9 pm
A dialogue with CCA professors, Ted Purves and Susanne Cockrell - Sunday, September 9th, 1-3 pm
Free Introductory Breema Workshop with Yasmin Bar-Dor of The Breema Center - Sunday, September 16th, 1-3 pm
Dust Prints and the Fall
Recent Work by Caroline Hayes Charuk and Kelli Yon
Wednesday, October 2nd - Sunday, October 27th
Opening Reception: Friday, October 4th, 6-9 pm
This October, Interface Gallery presents two solo installations by artists Kelli Yon and Caroline Hayes Charuk. While installed independently, the two bodies of work share potent resonances, conversing across the axis of the gallery and heightening the presence of one another.
Yon’s The Fall is a series of large, immersive photographic prints taken in a dense, decaying forest. The images are crisp and visceral, capturing a vivid sense of the cycles of life, of transition and transformation.
Charuk’s subtle, minimalist Dust Prints are quite different visually, yet similarly engage with the concept of ephemerality both through her process and her resultant images. The Dust prints are created by tossing a muslin sack full of dry concrete mix onto a wet sheet of paper. The prints capture an instant of impact, and the subsequent settling of the cloud of dust.
Each artists' presentation includes installation elements on the floor that enhance the impact of their works on the wall -- Yon presents a small video and sound element embedded in a tree trunk; Charuk, a limp, animal like form – one of the muslin and concrete "sacks" used to make her dust prints. The limp lifeless shape of the latter clearly relates to the decaying trees in Yon’s work.
The works from each presentation are in a kind of feedback loop with themselves, while also being in a cross dialogue with one another. Both comment on the cycles of life and contain a poetic quietude as well as a subtle violence.
* Printing of photographs for Yon's installation was made possible by a Loop Arts Grant.
Recent Work by Teresa Baker, Claire Colette and Lana Williams
Wednesday, September 4th - Sunday, September 29th
Opening Reception: Friday, September 6th, 6-9 pm
Interface Gallery is pleased to present Heightened Subjectivity, featuring recent work by Lana Williams, Claire Colette and Teresa Baker. Each of these artists is working with a compelling abstract visual language that is highly subjective. Their work conveys an immediacy of feeling that is both concrete and open to infinite interpretation.
Colette's delicate graphite renderings capture subtle psychic states, while Williams' bold gestures, vibrant colors, and diverse mark making convey a sense of spontaneity and playfulness. Meanwhile, Baker's highly reduced mixed media works, combining painted fabric, wood, and shaped foam, evoke an oddly visceral response with just a few elements.
All three artists explore the tension between surface and depth, chance and conscious construction. These formal tensions support the artists' shared desire to present a space or state that is unfamiliar, uncertain, or in between. Williams speaks of "addressing the space between temporality and permanence," Colette of evoking "that which lies between the phenomelogical and the empirical," and Baker describes her process as creating "another space."
Tuning into these "other spaces" or spaces between, the viewer experiences a heightened subjectivity that points to the subjectivity of experience itself.
Perceptual Shifts: Recent Work by Chandra Baerg
Friday, August 2nd - Saturday, August 31st
Opening Reception, Friday August 2nd, 6-9 pm
Interface Gallery is pleased to present, Perceptual Shifts, a solo exhibition of recent work by Chandra Baerg. Baerg's quiet, minimalistic works stem from a dynamic practice in which she fuses painting and drawing with everyday building materials, specifically drywall. Interested in exploring geometry, dimensionality and light, Baerg alters this mundane material through techniques like cutting, scoring, stacking and the application of subtle reflected color.
Baerg is influenced by her background in architecture and an interest in how people perceive and interact with constructed environments. Her work often reveals how subtle shifts made to commonplace objects like a basic wall surface can lead to transformative and even uncanny experiences.
Perceptual Shifts will include recent drawings, paintings and objects by Baerg as well as a site specific installation.
Chandra Baerg is a 2013 graduate of San Francisco Art Institute's MFA program and was recently selected for Navigating the New, Pro Arts Gallery's Bay Area Currents Exhibition, a critically acclaimed juried exhibition showcasing the region's top emerging artists.
Just Make Something
Wednesday, June 5th - Sunday, June 30th
Opening Reception: Friday, June 14th, 6-9pm
This June at Interface Gallery, Luca Antonucci and Carissa Potter of Colpa introduce a great curatorial concept - "Just Make Something" - which challenges artists who work together as curators to work together to make art. Featuring limited edition objects created by local curatorial teams - Et Al Projects (Aaron Harbour, Jackie Im and Facundo Argañaraz), Stairwell's (Carey Lin and Sarah Hotchkiss) and The Popular Workshop (Andy Hawgood and Nate Hooper).
Wanderers in a Sea of Fog
Wednesday, May 1st - Saturday, June 1st
Opening Reception Friday May 3rd, 6-9pm
Interface Gallery is pleased to present a beautiful series of images by Tressa Pack, capturing wanderers at San Francisco's Ocean Beach enveloped in white fog. The exhibition consists of four large photographs (between 42” by 55” to 60" by 88”) all shot using an 8x10 camera on particularly foggy mornings. The figures' total envelopment in these photographs lends a heightened sense of presence and is reminiscent of nineteenth century paintings of the sublime.
Arriving at Ocean Beach around 7 am and staying for a number of hours or until the fog lifted, Pack would wait for people to emerge from the fog and into the plane of focus. All their reflexive gestures, be it in clothing, facial expression or gesticulation are recorded in detail. The large scale of the prints allows Pack to both represent the overwhelming, sublime aspects of the landscape and take advantage of the resolution within an 8 by 10 negative to render the relatively small figures completely visible.
Unlike common nineteenth century Romantic representations of the sublime, the figures face the viewer, displaying their direct relationship with their environment. The result is often very contemporary and sometimes comical, where the figures seem unaware, or uninterested in the massive primordial fog that envelops them.
Printing and mounting of photographs in this exhibition was made possible by a Loop Arts Grant and a stipend provided by Interface Gallery.
Pack has also created a 16” by 20” hand bound book of the series to accompany the exhibition.