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If you enjoyed seeing the walls of ATHICA covered in the
work of 124 artists during the "Mystery Triennial," return now
to see a similar abundance of paintings, sculpture and design
by six artists selected by audience votes or by ATHICA's board
and guests. "Mystery' Selections" includes work by Rebecca
Brantley, Jorie Berman, Cindy Jerrell, Missy Kulik and Darcy
Reenis.
Rebecca Brantley was crowned "People's Choice" for her
delicate and elaborate paintings which depict unusual flora
and fauna. Presenting new work on panel, Brantley uses water-
based synthetic pigments as a wash over the organic texture of
wood grain, building up layers—a practice she likens to that
of the Surrealists. Speaking about her process, she says, "I like
to imagine my imagery is culled from an initial under-layer of
paint. Like Surrealist practices, I then work with the imagery
that seems conjured out of this first, loose layer."
For this exhibition, Brantley created a site-
specific installation titled "Angels Have No Memory"
across two walls in the gallery. Pouring in from the
skylights above, sunlight showers the garden she
created. Painting directly on the wall, she expands
her small, precious blooms to impressive heights.
Brantley uses discs of wood as the flowers' centers,
playing with textures, colors and light in the mul
timedia composition. However pretty it may be, in
this garden is an insidious undercurrent. Brantley
explains that the titles of her paintings come from
the movie Borboretto: "I am especially drawn to the
notion of the 'Mathmos' in the film. It's this vapor
ous, fluid-like substance that all of the life on the
planet comes from, but it's also the source of evil."
This play between good and evil—the snake in
Eden, for example—is present here. What appears
at first glance to be just pretty is actually pretty
dangerous.
The liminal occupation of two worlds at once is
the subject of Jorie Berman's installation, "Ellora."
I was taken with her seven smaller sculptures in the
piece. Rounded and anthropomorphic, each looks
like pairs of small groups of people huddled together
in an embrace. Although in some ways similar to
Henry Moore's work in terms of shape, her glazing
process makes the sculptures quite different. These
sculptures are fired over three days in a wood-burn
ing kiln where the amount of wood burned and the
intensity of the fire, placement of the piece in the
kiln and any changes in temperature all play a part
in creating the individual identity of the sculpture.
Berman says, "The clay remembers everything and
records the process into its structure and surface."
In "Ellora," a large pair stands before a projected
image of the sacred site of the same name. Crossing
the space-time continuum to connect our present
to the past is something we all have experienced
during our travels or at home. It's that strange
and elated feeling you get when recognizing that
you are standing on the same spot as others have,
hundreds or even thousands of years ago. Berman
illustrates this idea in her work, focusing on a site
of meditation and spiritual power. I look forward to seeing
more of Berman's work at the Georgia Clayworkers exhibition at
MOCA GA in December.
One also experiences the illusion of peering into imaginary
realities in Will Eskridge's peek-a-boo diorama sculptures.
I love the idea of looking through the peep-holes to see a
miniature vignette inside; it is a museum-within-a-museum
experience that contains the element of surprise and discovery
one seeks every time he or she walks through a gallery's doors.
Missy Kulik, creator of the (in)famous Tofu Baby comic, made
a new strip just for ATHICA. A larger-than-life Tofu Baby extols
the virtues of ATHICA and art; beneath the strip are Kulik's
drawings and wood cuts. Darcy Reenis presents graphic design
work on paper and clothing, combining typography and draw
ing to present his artistic message. (See the Bulletin Board
image on p. 24.)
Cindy Jerrell's altered antique photographs and mechani
cal puppet sculptures are well known in Athens. Here, we
have an assortment of creepy ghost portraits and manipulated
Victorian-era formal portrait photography that includes several
examples that were new to me. My favorites were those in
which she recreates sepia-toned portraits by replacing human
heads with those of insects. They are both humorous and ter
rifying. (See this week's cover.) Jerrell's art work is also now
on display at the Flicker Bar, where she and a baker's dozen of
other artists present work with Halloween themes. The show at
Flicker is on through October, so make sure to stop by during
your Halloween revels! Up through Nov. 6.
Also Worth a Look While Bar Hopping: Check out Jeremy
Hughes' newest paintings on view at Highwire through
October. Hughes' recent work is inspired by the 19th-century
portrait artist John Singer Sargent. When I spoke to him about
this project over the summer (Flagpole, July 6), he had begun
to diverge from painting quasi-replicas of Sargent's composi
tions and started adding more fire, blood and terror to the
mix. It seems he has continued on this path as the women he
paints now are miles away from the demure mademoiselles of
Sargent's work.
Hughes' interest in his subjects' psyches and his ability to
bring out disturbing fractures on canvas have been part of
his work for years. Dynamic compositions threaten to break
the picture plane: the neck of a viola is foreshortened to jut
outwards; another model sitting on a pretty love-seat leans
intently toward the viewer, her focused gaze burning through
the invisible wall between audience and subject. These women
do not resemble the passive subjects of so many portraits of
females over the ages. Instead, they engage with the viewer
in Hughes' aggressive compositions and bold coloring. Having
painted scenes from films by masters of psychological hor
ror like Alfred Hitchcock and Stanley Kubrick, he frames his
"Sargent women" within this realm, circling back again to
familiar territory, but with new friends in tow.
Caroline Barratt arts@flagpole.com
A detail from Rebecca Brantley's installation “Angels Have No Memory” is on display
at ATHICA through Nov. 6.
10 FLAGPOLE.COM • OCTOBER 26. 2011