Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Kianja Strobert

Untitled, 2013

Mixed media on paper

50 x 38 inches

Anastasia Pelias

"Nostalgia is, so to speak, epidemic in New Orleans" -- Harry Pelias, December 1971 (lemon yellow, translucent golden green, natural bohemian earth, manganese cerulean, indigo), 2014

Oil on canvas, luan, plywood, soundboard, baseboard

177 x 108 x 24 inches, each painting: 50 x 40 inches

Joseph Cohen

WOP 2/3, 2013

Pigment, gold, iron, oil, varnish, and staples on 1,100 lb. Arches paper

62 x 39 1/2 inches

Joseph Cohen

WOP 3/3, 2013

Pigment, gold, iron, oil, varnish, resin, and staples on 1,100 lb. Arches paper

73 x 40 1/2 inches

Letha Wilson

Tennessee Cove Concrete Fold, 2014

Unique C-print, emulsion transfer, concrete

17 1/2 x 13 1/2 x 2 inches

Wayne Amedee

Consolations, I Carry Your Heart, 2014

Painted aluminum

60 x 154 x 38 inches

Diana Al-Hadid

Untitled, 2013

Conte, charcoal, pastel, acrylic on mylar

24 x 18 inches

Michel Varisco

Doorway (from the Cotton Mill series), 1997

Silver gelatin photograph

20 x 24 inches

Edition 2/25

 

Michel Varisco

Lightbulb (from the Cotton Mill series), 1997

Silver gelatin photograph

20 x 24 inches

Edition 2/25

Michel Varisco

Brickdust, 2014

Cast resin, metal, New Orleans brick dust

18 1/2 x 6 x 2 inches

Created at the Rauschenberg Residency, Captiva, FL

 

 

Simryn Gill

Paper Boats, 2009

Britannica 200th Encyclopedia Anniversary Edition 23 Volumes, 1969

Dimensions variable

 

Regina Scully

Crossing Borders, 2014

Acrylic and transfer on canvas

48 x 60 inches

Regina Scully

Translation 10, 2014

Acrylic on Stonehenge 100% cotton rag paper

22 x 30 inches

Michel Varisco

Magnolia (from the Ruminations series), 2004

Toned silver gelatin photograph

16 x 20 inches

Edition 1/25

Simon Pyle

Concrete Shem, 2014

Concrete, acrylic, pigment print

8 x 6 x 4 inches

Simon Pyle

Concrete Golem IV (rebirth), 2014

Concrete, acrylic, pigment print

Dimensions variable

Alluvial Constructs

Octavia Art Gallery | New Orleans Curated by Laura Sandoval

October 18 – November 29, 2014

diana AL-HADID     wayne AMEDEE     joseph COHEN     simryn GILL     anastasia PELIAS     

simon PYLE     regina SCULLY     kianja STROBERT     michel VARISCO     letha WILSON

 

Inspired by the notion that “every place is unfathomable, infinite, [and] impossible to describe, because a place…[is] constantly arising and decaying,”[1] Alluvial Constructs provides a visual exploration of the intrinsic, unavoidable and poetic processes of construction and degradation. New Orleans is positioned on a plane of soft alluvial soil, built up over time from the Mississippi River’s natural cycle of flooding and erosion. Each new layer of sediment deposited on the banks of the river creates a malleable, amorphous and ever-changing topography. Overlaid on this sinuous and shifting landscape is the architecture and infrastructure of a city. Constructed out of rigid and impervious materials such as concrete, brick and metal, the built environment of New Orleans—like that of most cities—serves as an archeological record and a representation of a shared collective history.

 

The ten artists included in Alluvial Constructs address this complex idea of a city’s physicality as both an ephemeral and stalwart documentation of place. Their works investigate concepts of materiality, architecture, nature and the passage of time. Artists Anastasia Pelias and Joseph Cohen’s practices are primarily focused on materiality. Their viscerally-veiled, layered paintings and works on paper are about the act of painting; the import lies with the physical presence of their medium and in the compositional topography that results from the artist’s act of mark-making.

 

Diana Al-Hadid, Regina Scully, Kianja Strobert and Simon Pyle share an interest in architecture and archaeology. While aesthetically disparate, their paintings and mixed media works often depict abstracted, fractured or discreetly rendered glimpses of structures, cities or built environments. The resulting compositions feel sedimentary and gritty, evoking a sense of being unearthed in an arrested moment of decay.

 

The artistic practices of Wayne Amedee, Simryn Gill, Michel Varisco and Letha Wilson are related through a common interest in nature, questions of sustainability and documenting the poetry of daily life. Typically, these artists use materials and images from nature or their own environments as a starting point for their interpretations. Ranging from documentary photographs to hybridized photo-sculptures and from sculptural iterations constructed out of paper to oversized abstract aluminum forms, each expertly achieves depictions of our collective world that are unexpected and compelling.

 

[1] Solnit, Rebecca, and Rebecca Snedeker. Unfathombale City: A New Orleans Atlas. Berkeley, Los Angeles, London: University of California Press, 2013. Print.