Curated by Chiara Giovando
Mountain Fold is pleased to announce Pupils, two person show by Daniel Higgs and Asa Osborne.
Daniel Higgs and Asa Osborne have been musical collaborators, for over twenty years, in a band called Lungfish and later in their duo called the Pupils. Through their music and friendship a continuous “show and tell” exchange of their visual work has developed. Superficially, their work appears to be very different, and yet, due to their decades-long exchange of ideas and monitoring each other’s work, one can assume that a direct influence must be in evidence. It is possible this influence cannot be detected visually, but solely through the residue of time. Perhaps the most striking similarity is that both artists have created pieces that emanate an energy or emotion rather than evoke one. Artists do not produce in complete isolation, this duo show is an exhibition aimed at presenting pieces that have been created side by side within a friendship.
Daniel Higgs (born in Baltimore, MD 1964) is known for his music, poetry and painting. Each of these practices hasdeveloped in their own disciplinary context but are irrevocably linked. Daniel’s paintings are myth-scapes without place or time. Channeled symbols hang in an empty background creating a realm where many possible epochs may unfold. There is a talisman-like quality to the compositions, unlike a visual prayer.
Asa Osborne, (born in Washington, DC 1964) will be showing a series of paper cut-outs and paintings on wood. His work is constructed with meticulous attention to detail. At first glance, one may perceive the work as simple. What comes from the work with extended viewing is the possibility of discrete transformation. His wood paintings use solid bands of muted color that stimulate subtle perceptual shifts, while the paper cut outs are similar to organic interiors, like fleshy caves growing and transforming. The visual art parallels his musical composition. Asa’s technically precise guitar riffs are played with metronomic rhythm. Through this repetition of minimalism emerges an elegant morphing pulse and piles of debris. Although the mountains frame a vacant nothing, the true subject of the drawing is not the central dark lake, but rather the peripheral rubble pulsing with life.