An artist reception ~ Saturday March 10th from 4 to 6 pm.
Works by Terri Wentzka and Poems by Amy Rea
From origin stories, to legends, to pervasive false beliefs, myths inform our view of the world. Often densely layered with meaning and innuendo, it can be difficult to tell whether or not they’re untrue. We want to provoke you, the viewer, to think about where myth intersects with your family oral history, entrenched neighborhood rumors, recorded history, urban legends, and personal feelings around what you do or do not want to believe. Why is
myth so important to us as human beings, and why are we often so invested in stories of dubious origin?
In approaching this re-examination of the concept of myth, my intention was to explore themes that resonate throughout my larger body of work: alienation, protection, the significance of lost scraps of text, scientific collections, and the importance of paying attention to the little mysteries that are hidden in plain sight all around us. I frequently work with text from found papers such as discarded grocery lists and lost notes, so it was natural for me to include text from the accompanying poem somewhere in each image; in some cases only a few words, in others the complete poem. This use of text is not meant to be explanatory, but instead to provide another visual element and a link to further layers of meaning.
I work with ideas, discussions, memories, and things found both in nature and in pop culture. I’m particularly interested in what is lost and what remains, both in terms of human possessions and in human relationships, and I’m interested in the stories and myths we tell ourselves and each other that create sets of personal iconographies, personal gospels to live by.
An artist talk by Terri Wentzka and Poetry reading will be held on Saturday March 24th at 2 pm.
Works by Elizabeth Garvey
things that are small, but not necessarily trivial
and through all these small moments
Elizabeth Garvey is a sculptor and conceptual artist. Working primarily with found objects and natural materials, she makes quiet sculptures that suggest complex narratives. While these small-scale sculptures retain the familiarity of everyday objects, they draw upon a vocabulary of forms and textures both natural and manufactured to create unfamiliar associations: fingerprints spill from a seed pod, hair spurts from a balloon, cocoon-like tongue forms emerge from the wall. Taken together, they invite the viewer to consider them as a collection of objects with a consistent narrative and internal logic. However, these sculptures also exist individually as small objects that invite – but do not necessarily allow – touch. They are subtle explorations of the places where self, nature, and society intersect, both in the physical world and in one’s experience or memory.