Artwork from Nine Faculty Showcased Until March 20 in Art Gallery
Inspiration first struck Gregory Roberts, associate professor of studio art, while conducting performance ceramic pieces with his students' slip-casted costumes. "I wanted to capture the lost domesticity," Roberts explains.
In using discarded children's and wedding dresses in his work, Robert's three-piece slip-casted ceramic display sets its camel-toned ceramic emergences against a smooth black casing, generating contrast both poignant and chilling.
Upon walking into the Faculty Art Exhibition, Roberts' trio established a mood for the cumulative showing.
"There's an idea of this dream, of going from your home life to living as a young adult. There's a transition that has eroded as we move from one station to the next. The wedding dress is a signifier of that transition."
Setting a tone and a contrast offsetting the preserved content in Roberts's display, Carlos De Villasante uses a flat-coated red, blue, and dislocated Datsun hood as a backdrop for his strident profiled portraitures (pictured at left).
"Carlos' car hoods project the customization of the car, reflecting personal imagery and self-identity. His paintings' gestures reference how individuals' expression gets wrapped up in their cars: through the make, model, or modification."
Progressing themes addressing perception and self-awareness, professor Nathan Haenlein's graphite Hypnopub frame a culture both confined to and unaware of their casted mesmerizing state. The depictions convey a passive audience, leaving viewers to question the identity of the individuals and of their ensuing stimulation. Professor Kurt Kemp's adjacent graphite collages capture figures with distorted facial features in a dualistic setting that seems both dreamlike and tangible--incorporating separated household objects.
Winding throughout the exhibition's hardwood floor, sculpting professor Jann Nunn's sixty-foot track drives steel and progressing industry to a forefront. "Her work anthropomorphized something integral about being human," says Roberts. The split steel fragments "incorporate movement, transportation and direction in the figurative animal of mobilization."
Mark Perlman's massive conjunction of canvases delivers a weighted balance to Nunn's steel structure. Perlman's piece alone covers almost the entirety of the back wall.
"When he initially told me about the piece, I wasn't sure we had the space for it," says exhibition coordinator Carla Stone. The piece incorporates a mixture of muted colors layers with encaustic. Several of Juan Santiago's ceramic figures adorn the corners and center of the room.
The exhibition culminates in Jennifer Brandon's visual and photographic representations of Knots--tangles represented in a photographed, and arranged table setting.
"It is often seen as a luxury to make art," explains Roberts." With today's economy in such a state, the photos represent this idea of 'exposing one's roots,' " Roberts references Galloway's uprooted tree. The work summons viewers to "examine the ground they understood to be fertile while looking at what is further left out in the sun to dry."
The exhibition is open to both students and members of the public until March 20. Admission is free.
Gallery hours are:
Tuesday-Friday from 11 a.m.-4 p.m.
Weekends from noon-4 p.m.
For more information, visit the Art Gallery website at www.sonoma.edu/artgallery.
Written by Katherine Bolce, NewsCenter student contributor