A four person exhibit depicting that which appears to be the human form, but isn’t quite. All four artists share a common interest in, as Jennifer Mazza has described her process, “pushing past naturalism, approaching instead something more visceral. More internal.”
Evonne Davis presents Living Environment, a collection of cut metal figures numbering 15 women, 12 men and 5 children. All are derived from what Davis calls “stolen people:” figures from medical diagrams, advertising and guides for uncovering child abuse. She is interested in the nearly instantaneous tendency of viewers to assign these 3-foot tall silhouettes gender, racial, socioeconomic and personality attributes.
Sarah Kipp has written that “The figure that I paint is me, but does not represent me alone.” Kipp’s performance utilizing her own face and body and her large scale paintings depict women and children marked by personal history, whether in the midst of birthing rabbits or coolly assessing an extra limb.
By digitally combing photographs, Jake Rowland creates fictional portraits that describe “real relationships between members of my family, my wife and myself, and the people, friends and strangers, who surround me in my daily life.” Visual combinations of himself and his wife are literally of a union of two people, but were inspired by “the loss of one’s individuality to a relationship…by “the face of an alien, co-dependent personality made visible.”
Jennifer Mazza exhibits new paintings that like much of her previous work, are of meticulously rendered anatomical details, where “centers of touch, become stand-ins for the whole body.” The new series, Veil represents an intellectual departure into a shadowed world that seems to be simultaneously defined by danger and safety.