|The Morean Art Center|
A few posts before this one, I listed several links describing the basics of encaustic. It involves the use of beeswax in which paint/pigments are suspended.
|Lorrie Fredette assembling her installation|
|Lorrie Fredette, "The Great Silence"|
|View from below.|
|Work by Laura Moriarty|
|Laura Moriarty, "Cover Collapse"|
|Ann Taylor Gibson, "Threshold, For Daddy"|
Another piece, "Threshold I" deals with her bout with cancer, literally showing a barn, its threshold, doors wide open, and receding into the outside, floating away, are pieces of medical data related to the cancer. Intimate, direct, personal shared life experience.
|Lisa Pressman, "Following the Path"|
|Marybeth Rothman during her talk.|
The theme of time runs through many works in this show. Marybeth Rothman, pictured on the left with her encaustic and mixed media work titled "Regarding Eighty Pearl Street", works with her collection of found photobooth portraits combined with suggestive titles that prompt viewers to create their own fictional narratives. Note the delicately colored washes over the photographs, adding emotional patina to that acquired over time.
|Leslie Neumann, "Tango"|
There's an analog to the transmigration of souls here with the transfiguration of form and energies (which appear different to us, but as Einstein illustrated, are the same thing). She also does lyrical landscapes, some of which are also in the show, a few of which are also for sale in the gift shop section.
|Russell Thurston, "Midnight Bloom"|
Russell Thurston says that if he hadn't become an artist, he would have been a scientist. He explores the mysteries of living things through his art. In "Midnight Bloom", an encaustic & oil on wood painting, we see a mandala-like bloom, its leaves in the Fibonacci sequence (like a sunflower, this pattern repeats throughout nature, including in our bodies). The rigidity of the pattern is spontaneously broken in a beautiful manner by the organic tendrils at its center. Thurston's work in the show seems to have some Eastern European influences, but I could be wrong on that.
|Kim Bernard, "Readymade Color Wheel"|
Kim Bernard's work is related to physics. Those in this show are kinetic sculptures, made to be touched, and above all, played and interacted with. The "Readymade Color Wheel" is made from a bicycle wheel, balls coated in encaustic, attached by springs to the wheel's rim. Viewers are transformed into participants via interaction with the piece.
There is another work that is in the form of a pendulum that lies against the wall. By having people play with it, its arc of travel has been transcribed onto the wall behind it.
Elise Wagner's "Remnant III" appears to be some sort of stunningly beautiful, quasi-floral geometric abstraction, busy with lines, orange-sepia washes, and a mix of parabolas. The title is the giveaway, if the viewer doesn't recognize what s/he is looking at. These are tracks, or remnants, of the routes subatomic particles took, how they crashed into each other, and the subsequent transformations and families of other particles they begat thereafter. This is at once a memory of an event and a family tree.
In this tightly curated show, we see a variety of recurring themes, dealing with the nexus between art and science and what they tell us about the world. Time, its manifestations in memory, motion, pictures, & the human heart. The morphology of living things, cosmology, geology, physics and much more. All the egalitarian laws that apply to everything in our universe. At one level, the works in "Wax" showcase the possibilities for the encaustic medium. As we have seen, they also go far beyond that. Congratulations to the nine artists, to Leslie Neumann for an unusually fine job of curating and simultaneously integrating many levels in one exhibition, and to the Morean Art Center for making it all possible.
WAX: Medium Meets Message @ The Morean Arts Center - All at The Morean Art Center, 719 Central Ave St Petersburg. Opens Friday, March 17th, 5-7 PM. Free.