Good Times | Kelly Inouye
Thursday March 17th - Sunday April 17th



Good Times is the second solo exhibition by Kelly Inouye at Interface. The show consists of both abstract and figurative watercolor works on paper which explore the construction of painting and narrative through the lens of syndicated network television from the 1970's and 80's.

The figurative work, rendered loosely in the style of Inouye's previous Sitcom Series, references selected images from the television shows Dynasty, Good Times, Fantasy Island, Flipper, Gentle Ben, and Lassie. The images in the show reflect memories of programs the artist watched as a pre-adolescent child, highlighting certain aspects of those stories that resonate today. Dissolving into negative space, these manufactured scenes of everyday life hint at a larger narrative context and amplify the sense of odd sentimentality associated with pop culture of a bygone era that was not so long ago.

Similarly, the abstract palette works play with the notion of de/constructed ir/reality. Pigments are complex, some sink and some float, water evaporates at different rates according to the weather, and these pools of color flow according to the changing topography of the paper. Evaporation leaves behind ghosts of pigment. As a series, these works interrogate notions of representation, extracting a repertoire of marks that both suggest and deny portrayal. These traces implicate the degeneration of memory: fragmentation that hints at but does not fulfill the promise of complete narrative. Like the figurative works, they are full of promise—on the cusp of resolving, coalescing into a comprehensible representation—yet they maintain their autonomy, complicating the viewer’s expectation of fulfillment.


Bodily Engagements

January 21st - March 13th, 2016

Bodily Engagements was an eight week series that brought performance and visual art practices into relationship through four dynamic, two-week long projects organized by a talented selection of Bay Area artists: Brontez Purnell and Sophia Wang, Abby Crain, Manners (Lisa Rybovich Crallé/Sophia Wang), and Lauren McKeon and Renée Rhodes. The series was designed to engage audiences in immersive experiences that are at once visual, temporal, and spatial, highlighting a sense of the body through actual performance and performative, physical elements of the work presented.

There were fifteen free public events offered over the course of the series and each project presented a visual art installation to be explored during and outside of scheduled performances.

Support generously provided by The Zellerbach Family Foundation, Kennith Rainin Foundation, and The Clorox Company Foundation.

PRESS: 'Bodily Engagements' is a Dialectic Between Dancers and Sculptors | East Bay Express | Sarah Burke


Some other sense of time and space | Linda Geary and May Wilson

Thursday, October 29th - Sunday, November 29th

This exhibition presents a single large painting by Geary and a single sculpture by Wilson. The works exude a quality of presence, activating the space, while also activating one another.

Geary’s painting is very physical. Her engagement with the picture plane stems from her interest in exploring the body, space and time through layering, scraping and reapplying color and shapes until a dynamic composition is achieved. Wilson's sculptural work is similarly engaged with ideas of the body and relationships with the physical spaces her work inhabits. She employs industrial fabrics like vinyl, plastics and nylon strapping, creating sagging, limb-like, organic sculptures that are sewn and bound together. Geary and Wilson both encourage a highly visceral experience of their materials, textures and colors.

Both artists' practices can be linked to the dialogue between sculpture and painting, experimentation and performance that characterized painting and sculpture of the 1960s and 70s. The work resonates with Marcia Tucker’s description of Jane Kauffman’s work from that era, which she described as capturing “some other sense of time and space, belonging to the world, but stronger than my immediate surroundings.”


Ghost in The Hay: Kim Bennett, Maysha Mohamedi,
Laurie Reid and Elizabeth Russell

Thursday, September 24th - Sunday, October 25th

The title for this four-person show refers to both the former life of the Interface Gallery space as a horse stable in the early 20th century as well as to these artists’ interest in the “ghosts” present in their own work. These four artists all make work in a variety of mediums and dimensions and invite carryover from one project to the next as well as from each other and other close influences. Often using their own work as “found” material for their next series of investigations, themes and forms emerge and re-emerge over time in practices that are distinctly cyclical in nature.

These artists share a common interest in geometry and other systems of representation only to disrupt them, questioning and challenging these systems’ ability to communicate. Working in states of constant interruption, they find a certain stillness there—a moment where a distillation occurs and a chance for new meaning becomes possible.


Gesture/Fragment/Trace
Rebeca Bollinger, Dana Hemenway and Sean Talley

August 20th - September 20th

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.

Elizabeth Bernstein: Nothing Is Sacred and Everything Is Sacred
Wednesday, June 3rd - Sunday, July 5th

This June, Interface Gallery is pleased to present a solo exhibition of photographs by Elizabeth Bernstein.

Nothing is Sacred and Everything is Sacred presents seven photographs by Bernstein that are drawn from her investigations into daily life, specifically the private spaces where we establish our routines and spend our time. Utilizing a minimalist sensibility, Bernstein subtly reveals the complex psychology of such spaces and the meaning they can contain. The compositions, both found and constructed, are visually bare and straightforward yet convey nuanced emotions. Whether recording a lone sponge in a shower stall, a spot of light on a floor, or bodies alone or entwined, the works reveal a sacred presence in the most mundane subjects and encounters.

http://elizabethbernsteinartist.com/

almost (IS ) is
New Work by Teresa Baker and Jaimie Healy

Wednesday, April 29th - Sunday, May 31st

Interface Gallery is pleased to present almost (IS) is, an exhibition of new work by Teresa Baker and Jaimie Healy.

Healy and Baker both merge sculpture and painting in their practices in inventive ways, incorporating mundane, odd and even ugly materials in simple, expressive gestures. They allow raw, unfinished qualities to express a potent space between formlessness and form. Both artists' processes are highly intuitive as they seek a state where their work “almost is."

For Baker, this is the moment in her process when her work just begins to take on it's own formal presence, to evoke something concrete, yet it is stopped there and thus remains open. For Healy, there is an intentional desire to produce a feeling of the work being unresolved–as a poetic gesture and a philosophical stance in favor of irrationality and intuition. For both artists, "almost" is a moment filled with expressive potential.

This exhibition will involve an installation of the artists' paintings and objects in conversation with one another. A book about Healy and Baker's work–with an essay by Suzanne L'Heureux–will also be released.

(Image Credit: Jaimie Healy, floor piece, Teresa Baker, wall piece, photo courtesy of Hasain Rasheed Photography)

C. Ursula Cipa | Until the sun can do no more
April 2015

Powercall: A mobile, micro energy commons | marksearch
Wednesday, March 4th - Sunday, March 29th

This March, Interface Gallery presents, Power Call - a nomadic, interactive energy commons, designed by marksearch (Sue Mark + Bruce Douglas). Using low-tech systems, Power Call harnesses, stores and dispenses energy for recharging a variety of cell phones. Anyone can contribute to the energy commons by spending a few minutes pumping the machine, creating a charge for yourself or a future person in need. The amount of energy generated will be relatively small, enough to make a meaningful last phone call or text message. In exchange for participation, we ask that you share your story on a rotating public message board.

Who would you call if you had only this one last call? What would you say?

Power Call relies on good will to generate energy while simultaneously diffusing the anonymity of people in public spaces. In order for the energy commons to function, passers-by engage in an unusual and collaborative experience.

This project creatively brings together contemporary issues around hand held technology and social spaces, environmental concerns about a need for alternative energy sources, and anxiety over natural disasters and a potential state of emergency, where figuring out ways to work together to share resources is going to be necessary.

Make Things (Happen): Organized by Christine Wong Yap
February 2015

Make Things (Happen) is a participatory project organized by Christine Wong Yap that features over 40 artist-created activity sheets designed to guide participants in either making things or making things happen.

Yap selected artists to highlight practices that are participatory, engaged with the world, and unconcerned with the demands of the art market. The artists work across social practice, drawing, sculpture, video, and performance, and hail from the Bay Area, New York, other parts of the US, and the UK, Canada, Poland, and India.

List of Participating Artists:
Lauren F. Adams, Maurice Carlin, Kevin B. Chen, Torreya Cummings, Helen de Main, double zero, Bean Gilsdorf, Galeria Rusz, Sarrita Hunn, Maria Hupfield, Ariana Jacob, Hannah Jickling & Helen Reed, Nick Lally, Justin Langlois, Justin Limoges, Jessica Longmore, Mail Order Brides/M.O.B., Kari Marboe & Erik Scollon, Betty Marín, Mark Anthony Martinez, Meta Local Collaborative, Melissa Miller, Roy Meuwissen, Laura Napier, Susan O’Malley, Dionis Ortiz, Kristina Paabus, Piero Passacantando, Julie Perini, Ryan Pierce, Pavel Romaniko, Risa Puno, Genevieve Quick, Mary Rothlisberger, Pallavi Sen, Elisabeth Smolarz, Tattfoo Tan, Lauren Marie Taylor, Sharita Towne, Emilio Vavarella, David Gregory Wallace, Lexa Walsh, Alex Wilde & Emily Chappell, Brian Zegeer, Lu Zhang.

Carrie Hott | After Hour
January 2015

After Hour
Happy Hour
Cocktail Hour
Golden Hour
Magic Hour
Blue Hour
Witching Hour
Ungodly Hour
Blue Hour
Magic Hour
Morning Hour
Lunch Hour
After Hour


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”
-Dictionary.com

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.)

Bonanza VI | Eighteencharacters
October 2014

“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.

No person is without a shadow | Laurie Reid and Manuel Angeja
August 13th, 2014 - September 27th, 2014

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, allowing for shifting relationships and interpretations to emerge.

In this exhibition, their works 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 will be showing a series of small paintings on repurposed graph paper and Reid will present a small watercolor, a larger oil painting and a series of small glazed ceramics.
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
June 11th, 2014 - July 13th, 2014

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 surrounding the muff 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.

Producing Space | Aaron Finnis, Amy M. Ho, Cybele Lyle, Emma Spertus
April 2nd, 2014 - May 11th, 2014

Producing Space features 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 this exhibition, the artists literally produce a new space, or set of spatial possibilities, within Interface Gallery with site responsive works that are surreal, playful and subversive.
Spertus advertises a fictional sculpture exhibit in a work that simultaneously functions as blinds, covering the gallery window and door and creating darkness for Lyle and Ho's projected works within. Lyle contributes a video projection of a scene from nature onto the existing gallery architecture, while Ho projects video of a small scale model of an imagined space into the gallery skylights - blurring lines between outside and in, imagined and existing architecture, respectively. Finally, Finnis' work combines everyday, mass produced objects with the digital, referencing physical and virtual spaces of production that reflect and construct our social and cultural identity.

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.

Kelly Inouye | The Company You Keep
November 1st, 2013 - December 1st, 2013

In this exhibition, Kelly Inouye expands 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.

Heightened Subjectivity
Teresa Baker, Claire Colette and Lana Williams
September 5th, 2013 - September 29th, 2013

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.

Chandra Baerg | Perceptual Shifts
August 2nd, 2013 - August 31st, 2013

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.
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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.

New New Works | Teresa Baker, Lauren Douglas, Ben Bigelow

Just Make Something

Manzanita, Nettles, Yarrow, Sweet Gum and Jade