Enrique Gomez de Molina This Is Not Taxidermy January 14th – February 29th, 2012
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As if frozen in time, the chimera-filled menagerie that sculptor Enrique Gomez de Molina creates in the gallery space recalls stories akin to The Velveteen Rabbit in which toys have a life of their own when no one is watching. The work itself seems to play with the viewer, oscillating in turn between the push and pull of warning and whimsy, revulsion and fascination. The complex conceptual web woven through the work is belied by the aesthetic brilliance of its surface – shimmering beetle wings, glossy feathers, the sheen of beaks and claws, the luster of rich furs. Yet just beneath these fragile, constructed veneers exists sobering aposematic undertones about the consequences of a multitude of environmental and ethical issues. In luring the viewer with such tantalizing eye candy only to insinuate that something tragic is also at play, De Molina himself employs a predatory tactic. De Molina cites both fashion greats (Alexander McQueen and Bob Mackie) and artists (Damien Hirst, Walton Ford, James Audubon) among his influences, which comes as little surprise given his penchant for creating dramatic, witty, meticulously crafted sculptures. In simultaneously poking fun of, yet acknowledging humankind’s power to control and conquer aspects of nature, de Molina suggests that the viewers bear some responsibility for these creatures and their fate. De Molina recalls early on how his father’s sense of humor influenced his own sense of imagination in his work. “I think seeing his sense of humor in a serious museum setting made me feel like what he was doing was more than just mounting animals – it was telling stories.” However, de Molina, unlike his father, does not use real animals but rather constructs the animal forms. The stories de Molina weaves are fantasy and science-fiction yet tinged with sorrow. His ability to skillfully materialize creatures that do not exist in living form toys with our perception of reality. We are asked not only to use our imagination and immerse ourselves in his realm of fantasy, but more importantly to peel away the beguiling facades and address deeper issues at hand.
Holly Lynton November 12th – January 7th
Holly Lynton’s large scale, color photographs explore the connection that people who still work with plants and animals have with nature. Past series have dealt with the vulnerability of not just farm animals, but also the vulnerability of the farmers themselves at this time when farming has become increasingly industrialized. Her work implores us to have a renewed reverence for nature through the celebration of the positive aspects of small-scale, sustainable, local, organic farms. When Lynton encountered sheep farmers, who display their “best in show” sheep at local fairs, she was struck by the iconic symbolism implicit in the practice. The snow-white fleece of the lambs is protected by hooded garments that seem to reference the cloaks of the Ku Klux Klan. Perhaps the artist asks us to see the connection with sacrificial lamb of Christianity that was raised only to be slaughtered. The juxtaposing elements, of sacred innocence with sinister undertones of racism and death, instill the work with questions about our collective consciousness. Often photographed in a manner that emphasizes light and shadow, the sheep emanate an ethereal glow that becomes otherworldly. Her large format photographs lend magnitude to her subject matter as well, imbuing something rural and agrarian with a sense of reverence and mystique. The embedded symbolism suggests that the images Lynton creates are not simply “sheep”, but rather a metaphor for the light and dark that exists within each of us.
Aurora Molina A Critique of Established Attitudes Towards Aging & Beauty September 10th 2011 – January 7th, 2012
What is beauty? The artist Aurora Molina challenges us to find beauty in the physical process of aging. We choose to ignore the elderly in our society, unlike the societies of some cultures such as the Japanese and Native Americans. When was the last time you saw an advertisement in a magazine or TV that used a person older than 60 (which is the new 40)? Yes, we have seen ads for adult pampers, hearing aids, and the Mobility Scooter™. These ads imply their helplessness and their dependency. The soft, sculptural figures and creatures Molina makes are belligerent, or perhaps they are ill-behaved children that demand attention. Each one tells a story. These figures and creatures appeal to our social consciousness. Molina uses women’s stockings that make the sculptures appear crude and visceral, while the robotic mechanisms that create their movement remind us that the subjects are alive. Molina comments that, “The use of fabric and the softness of embroidery defines my work and honors that century-old legacy of women weavers and artisans”. Born in Havana, Cuba and earning her Master Degree in Contemporary Art at the prestigious Universidad Europea de Madrid, Molina evinces a perspective and a style that is uniquely her own.
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