Drift: Paintings about One Thing 和 Another

展览信息
策划的
摩根霍布斯
白日梦, prophetic visions, 幻觉, 和 streams of thought explored in paintings by six PAFA alumni

白日梦, prophetic visions, 幻觉 和 streams of conscious 和 unconscious thought accumulate in paintings in Drift: Paintings about One Thing 和 Another. The works of six PAFA Alumni [1979 - 2017] - Philippa Beardsley, 瑞安布施, 马里埃尔Capanna, Jonathan Lyndon Chase, 莎拉McEneaney约瑟夫Rha fit comfortably into an imaginative yet simplified figuration seen frequently at PAFA, inspired in part by the influence of Hobson Pittman [PAFA 教师 1949 - 72]. These artists describe objects of the world, familiar forms we can see 和 touch, but they hold back from claiming certainties of thorough description. Their often simplified forms open into narrative worlds of gist, psychology 和 myth.

McEneaney [Cert ‘79] has had a prolific career of producing pictures that seem mostly stable at first glance. Her narratives unfold through imagery, color 和 marks that add up to what might first appear to be a common-sense organization for an image. A quick viewer might miss the secrets in the details of her l和scape 和 interior scenes, but a patient observer might see windows turn into humble American flags or wallpaper transform into needles.

Chase’s [MFA ‘16] portraits speak about the multifaceted nature of identity. His figures are fused with the field of the canvas 和 the object of double-sided paintings. Transparent arms, faces 和 objects interrupt the continuity of each figure. The overlapping elements seem both connected to the subject 和 belonging to another person.

Beardsley [MFA ‘12] blends personal memories 和 framing devices related to photography 和 film. Her heavily-worked collages exist within the viewers’ world as an object, but the framed images indicate a complex world of uncertainty 和 romance.     

Capanna’s [BFA ‘13] shaped frescos also exist as objects within the viewer’s space; her stacked images blend domestic 和 public environments. Her works seem to speak about the similarities between groups of people existing within an urban environment. Though Capanna rarely offers depictions of a human form, her paintings are active with life 和 presence.

Busch’s [MFA ‘17] painted pictures take a cue from forms most frequently associated with abstract painting. Framing 和 cropping at first produces squares 和 stripes. As the imagery emerges, figures 和 objects are found humorously interacting with the edges of the canvas 和 planes of color.

Rha’s [Cert ‘16] aggressive, textural paint application creates the smell, taste 和 emotion for his painted world. His imagery can be read literally 和 reinforced by titles related to the depicted image; however, the omission of detail from the image creates a discomfort opening up a world of metaphorical readings that seem to form social critique.

The Alumni Gallery is proud to explore one of the threads that hold the work of PAFA Alumni together. These six artists demonstrate a range within this dreamy, figurative style found both within the tradition at PAFA’s school 和 works within the PAFA museum’s collection.

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