Archive for August, 2008

THE HERITAGE BANK’S 14TH ANNIVERSARY SHOW

Posted by erin on August 25th, 2008

Mysteries and More…

By Erin Goodwin-Guerrero

Jane Salvin’s curatorial work at the Heritage Bank is always a presentation of art from accomplished professionals that makes the exhibitions worth a trip. In a deceptive space that seems unlikely to offer so much to see, the work goes on from the lobby to the inside of the bank, to the offices and conference rooms. The staff never seems unnerved by visitors wandering around looking at the art.

The 14th Aniversary Exhibition includes work by fifteen artists, many of whom show enough work to constitute a solo show. I was intrigued by a group of artists who create mysteries or whose concerns are the great mysteries of the macrocosm, the microcosm and the soul.

A detail from Younhee Paik’s Night Flight (Sail)

Younhee Paik’s canvases in the lobby entryway set a tone for the show. Large loosely hanging unstretched canvases evoke a great expanse of blue universe with spatters of white and gold, even red. Some are isolated flashes of light and some are great congregations of stellar light and gas in celestial nebulae. She calls these her ceiling paintings–intended to be hung like a sail or draped, arching across the ceiling, upside down. We are enveloped in the space she creates. It is beautiful, peaceful and awesome. A cathedral floor plan floats across the lower realms of Night-Flight Venus, like an enormous space station welcoming travelers to a safe haven somewhere between the known and the unknown.

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VICTORIA MAY SHOWS AT DON SOKER, SAN FRANCISCO

Posted by erin on August 22nd, 2008

by Hanna Hannah

Victoria May’s solo show, Residuum (her first in San Francisco at the Don Soker Gallery) is a seemingly inexhaustible elegy to Exhaustion. Like those ancient lyricists, Sheherezade and Ariadne, May is an indefatigable weaver of narratives that are urgently driven by a sense of sheer survival as they are also embedded in the residual fissures of a depleted world in which humanity’s endurance and sustainability – both emotional and literal—hang by a thread.

Spare by Victoria May

For, in fact, one of the most dominant materials in May’s work is thread. In Spare, Collateral Damage, Artery Study, and several other pieces, dark-red thread nakedly performs as Blood. But because as viewers we are made to apprehend it simultaneously as “thread” and “blood,” we are shuttled back and forth (as it were) narrowly between the opacity of material presence and translucent metaphor.

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