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  The Possibilities of Line
June 21 - August 4, 2018
 
 
While the possibilities of line are infinite, this summer’s group exhibition examines how sixteen artists exploit aspects of linearity in their work.  Mel Bernstine’s vividly colored marker drawings of nesting lines and interlocking geometries reflect his interest in emergent structures, while Caroline Blums’ drawings, made with ballpoint pen on graph paper, use overlapping vertical and horizontal bands to create architectural dimensionality.  In Kellyann Burns’ painting, multiple layers of oil paint are polished through sanding, revealing linear elements from earlier layers. Chris Corales’ minimalist and lyrical triptych collage reflects his embrace of simple materials, as in this work of found paper, cardboard, and bookbinding cloth. In Paul Corio’s painting, segmented ribbons of color project and recede in space, zipping back and forth across a white ground while progressing through their value range. In Lori Ellison’s notebook paper drawing, a single looping continuous line in graphite is articulated by hundreds of small rings made with ballpoint pen. Chris Gallagher’s oil on canvas diptych uses wide and narrow vertical bands of rich color to create a surging spatial field as well as a fluid micro/macro focus.  Reflecting his strong interests in mathematics and science, Daniel Hill creates visualizations of energy and sound waves through undulant and rhythmically patterned linear paintings in acrylic polymer.  In one continuous line of type spelling out the lyrics of “What a Wonderful World,” Meg Hitchcock collaged individual letters cut from a copy of Hitler’s prison screed, neutralizing and transforming it into a mandala-like expression of joy.  Nicholaus Jamieson employs a construction chalk line tool to snap taut, evenly spaced lines in his architectonic drawing of chalk, charcoal and graphite.  A tunnel of light in Maureen McQuillan’s photogram was created by exposing photo paper underneath a large stack of repeated spiral drawings made with marker on clear acrylic paper. Holly Miller sews lines of thread at the edges of simple geometric fields painted in acrylic, imparting dimensionality and volume as well as a reminder of the hand-made.  Aric Obrosey’s meticulous graphite drawing contrasts the boldness of a dripping brushstroke with the delicacy and refinement of intricate lace patterns.  Jaanika Peerna paints and then cuts mylar sheets into strips which are folded to create volumes that swell and recede with movement, evoking passing clouds and tumbling waves. Overlapping lines of color set on varying diagonals produce dynamic and optically-charged fields in Mel Prest’s acrylic painting.  Using watercolor on paper, Laura Watt draws nets of multi-colored fine lines that pull and stretch from irregularly-shaped voids.
 
 
Mel Bernstine
The Way is the Way, 2018
Posca and water-based marker on paper
15 x 11 inches

Mel Bernstine
Going Home, 2018
Posca and water-based marker on paper
22 x 15 inches

Caroline Blum
Blue Abstract, 2017
Ink and wash on graph paper
11 x 8 1/2 inches
 
Caroline Blum
Path to Beach, 2017
Ink and wash on graph paper
11 x 8 1/2 inches

Kellyann Burns
8:12 PM 8/28/17, 2017
Oil on alu-dibond
30 x 24 inches

Chris Corales
Lysaker, 2018
Found paper, cardboard and bookbinding cloth
Triptych: each 9 x 13 7/8 inches
 
Chris Corales
Lysaker, 2018
Left sheet
Found paper, cardboard and bookbinding cloth
Triptych: each 9 x 13 7/8 inches

Chris Corales
Lysaker, 2018
Center sheet
Found paper, cardboard and bookbinding cloth
Triptych: each 9 x 13 7/8 inches

Chris Corales
Lysaker, 2018
Right sheet
Found paper, cardboard and bookbinding cloth
Triptych: each 9 x 13 7/8 inches
 
Paul Corio
Isotope, 2018
Acrylic on canvas
42 x 30 inches

Lori Ellison
Untitled, 2014-15
Ink on notebook paper
11 5/8 x 8 1/4 inches

Lori Ellison
Untitled, 2014-15
Ink on notebook paper
11 5/8 x 8 1/4 inches
 
Lori Ellison
Untitled, 2010
Gouache on wood panel
7 x 5 inches

Lori Ellison
Untitled, 2010
Gouache on wood panel
7 x 5 inches

Chris Gallagher
Curtains, 2018
Oil on canvas
32 x 48 1/2 inches
 
Daniel Hill
Untitled 11, 2018
Acrylic polymer emulsion on paper mounted on wood panel
22 x 30 inches

Meg Hitchcock
Night, 2017
Letters cut from "Mein Kampf" by Adolf Hitler, burned with Tibetan incense
22 3/4 x 18 inches

Meg Hitchcock
Night, 2017
Letters cut from "Mein Kampf" by Adolf Hitler, burned with Tibetan incense
22 3/4 x 18 inches
DETAIL
 
Nicholaus Jamieson
Exhibit T – Red, 2018
Chalk, charcoal and graphite on paper
30 x 22 inches

Maureen McQuillan
Untitled photogram, 2009
Unique silver gelatin print
21 3/4 x 22 1/4 inches

Holly Miller
Bend #21, 2018
Acrylic, graphite, and thread on canvas
48 x 48 inches
 
Aric Obrosey
Painting and Lace (Op-Drip), 2018
Graphite on paper
16 1/2 x 11 1/2 inches

Aric Obrosey
Painting and Lace (Op-Drip), 2018
Graphite on paper
16 1/2 x 11 1/2 inches
DETAIL

Jaanika Peerna
Sublime Vanish, 2018
Watersoluable pigment and water on handcut mylar
Dims. variable, approx. 7 x 14 feet
 
Jaanika Peerna
Sublime Vanish, 2018
Watersoluable pigment and water on handcut mylar
Dims. variable, approx. 7 x 14 feet
DETAIL

Mel Prest
Crossed Arrows Apocalypse OK, 2018
Acrylic on panel
28 x 22 x 2 inches

Laura Watt
Whole/Hole Study #1, 2018
Watercolor on paper
14 x 22 inches
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