Graphic Intersections is a collaborative project loosely based on the old Surrealist and Dadaist game, the Exquisite Corpse. Designed to unite disparate artists in an interconnected photographic relay of images inspired by one another, this project strives to emphasize a system of response entirely rooted in unmediated visual reaction. Ultimately, Graphic Intersections challenges the bounds of sequential, narrative imagery, while simultaneously fostering stronger lines of artistic affiliation.

Graphic Intersections includes photographs by Ben Alper, Anastasia Cazabon, Thomas Damgaard, Scott Eiden, Grant Ernhart, Jon Feinstein, Elizabeth Fleming, Alan George, Hee Jin Kang, Drew Kelly, Michael Marcelle, Chris Mottalini, Ed Panar, Bradley Peters, Cara Phillips, Noel Rodo-Vankeulen, Irina Rozovsky, Brea Souders, Jane Tam and Grant Willing.

In the inside gallery space, a second exhibition, The Portrait as Allegory examines the work of Timothy Briner, Birthe Piontek, and Susan Worsham, three artists who utilize the figure metaphorically in service of a broader discourse on the human experience. In addition to exploring the personal identities of the their subjects, these portraits simultaneously become vehicles which speak to a variety of social, historical and familial histories. Timothy Briner’s images both confirm and undermine cultural and societal stereotypes largely associated with small-town American life; Susan Worsham’s portraits explore the artist’s own ancestry in an attempt to visually reconcile the past and present; and Birthe Piontek’s photographs investigate the quest for individuation in the mythic Great North.