There will be a two-day socially-distanced Opening Reception on Friday, January 15, from 11 a.m. - 7 p.m. and Saturday, January 16, from 12 - 4 p.m.!
OUT OF PLACE
“Out of Place” features new work by five Southeastern contemporary artists who explore human relationships to place using a range of media including ceramics, photography, paint and colored pencil. These artists explore these relationships through various lenses - physically (Gregor Turk), psychologically (Richard Thomas Scott), historically (Willis), culturally (Amanda Joy Brown) and economically (Eilis Crean).
“Out of Place” features sculptural maps made of clay or rubber by Atlanta native Gregor Turk. His main body of work for this exhibition is “Choke II,” a series of carved black and white glazed ceramic tablets depicting geographic constrictions - namely straits and isthmuses - where seas channel and converge, and land masses narrow. Presented as a systematic classification of types, their diverse configurations serve as studies on separation and connectedness. Created during 2020, the work also represents, in part, surrogate foreign destinations not visited due to Covid travel restrictions.
Richard Thomas Scott:
Within the diminishing light the most subtlety is revealed. “Out of Place” includes new nocturne paintings by Tucker native Richard Thomas Scott. The dreamy and pensive character of these paintings are intended to remind us of our shadow selves, the depths of which we’ve all grown more acquainted in this age of solitude. “The Nocturne, as the night itself, might remind us of a warm blanket enveloping and comforting us,” says Scott, “or it might be filled with terror and doubt. Thus, it is a reflection of the state of the viewer. Nevertheless, it is certain that in the darkness we await the enlightenment. For surely, that is what will arrive with the dawn.”
The Egyptians believed in a concept called Second Death. Second Death Is the idea that after an individual's physical death, once everyone who knew them died the person would be forgotten forever. The Ship of Theseus is a thought experiment that raises the question of whether an object that has had all of its components replaced remains fundamentally the same object. For “Out of Place,” Willis uses large-scale, photographic collages to explore these ideas as they relate to his hometown of Marietta.
“After returning home after so many years deployed in the Navy, I found my community ravaged by gentrification,” says Willis. “Landmarks of Blackness swept away in the name of progress - my tight knit community converted into a diaspora. As I reconstitute who I am from the parts of who I was, I look at the things I used previously to define me. As they disappear and my past experiences a Second Death, I attempt to recreate my past in these photographs. Just as a memory has gaps, so do my images.”
Amanda Joy Brown:
Nashville-based Amanda Joy Brown’s paintings in “Out of Place” are meditations on our sense of place and self in relation to others or The Crowd. Painted with a drip/drizzle technique using the handle of a paintbrush or palette knife, crowds emerge through intertwining, calligraphic lines. Crowds often have a total effect that is greater than the sum of the individuals creating an entity and intelligence that is unique unto itself. In our Digital Age, virtual crowds can exist on social media platforms as well.
Brown’s compositions expose our heightened sense of interconnectivity. “Sometimes this web or network is concealed by veils of paint or revealed by the relief and texture of the line,” says Brown. “Sometimes the interlocking network is interrupted by an underlying barrier, superficially isolating a section or group by accentuating or obscuring. Lines fluctuate between delineation and distortion. My goal is an exploration of The Crowd in a literal, physical sense, as well as through the many other ways we are now connected and interdependent.”
Born in Ireland, Eilis Crean is a Professor of Art in the Department of Art, History, and Philosophy, at University of West Georgia. For “Out of Place,” Crean will be showing her series of works on paper exploring marketplaces. These pieces are a form of undercover reportage and documentation presenting working conditions of hourly laborers at the front end of consumerism in the United States. “The series expands on references to time that form undercurrents in much of my work - cyclical and paused, geological and momentary, lost and seized, contemplative and purchased,” says Crean. In the apparent anonymity of market machinations, time has an hourly price.”