Abstract Communication Dan Halm
About the show
The artists in “Abstract Communication” each use a unique method of communication with startling results: from the simplicity and beauty of Morse code, to the immediacy of Google maps and the proliferation and dominance of the ever-present ‘selfie’ culture. Faced with multiple ways to communicate with one another, are we sending the right message? Or just getting lost in translation?
Living in Turkey through the 1980’s and 1990’s Kat Chamberlain’s family who are Armenian, a religious and ethnic minority often incorporated code words and languages to communicate personal details. In this same manner, in her video Eulogy she sent her mother a message posthumously in Morse code and broadcast the sound and light across the Aegean coast.
John Chang’s work expresses the dichotomy of his Chinese and American experience by juxtaposing traditional and unconventional symbols and images through the application of mixed media. Deconstructed Chinese calligraphy layered over segments of world history and references to modern pop-culture depict his personal translation.
Rick Herron's maps use screen captures of real locations in various mapping apps to create spare compositions consisting of only a few topographical features and a place name that beg the question of how, why, and where humans decided to project their peculiarities onto geography.
The collages of Scott Hug look at the emptiness of consumer culture—of hyper-consumption, filling the void or hole, in the quest for self-fulfillment. The work attempts to make the viewer confront his or her apparent feelings of indifference and self-destruction.
Amy Richards’ video re/congnition explores the special relationship between humans and their canines, via high-speed video. In the piece, Richards captures that non-verbal moment when dogs recognize their owners, after being separated for a time period, and the range of emotions that come with them being reunited.
Jeffrey Teuton considers himself a storyteller. He employs shape, color, and spatial relationships as a vehicle to interpret the immense, the philosophical, the cognitive, and the mundane. Collected stories and images are processed and filtered until what remains are simple quietly poetic acts. Assembled together what emerges is a retelling in an attempt to gain insight, analyze, and search for a deeper understanding of his role within and reactions to the contemporary experience.
For his 3-D lenticulars, Quinn Tivey uses source materials from strangers’ “selfies,” randomly chosen and abstracted by a custom computer program. Each abstraction is numbered and titled with the same narrative-based caption as its source. In the context of the omnipresent personal camera and web access, the “selfie” phenomenon is indicative of a contemporary definition of identity that is self-prescribed and self-published.
Curated by Dan Halm
Featuring work by
Image by Rick Herron
Mar 16 - May 6
Tues - Sat | 2-7pm
Opening Reception: Mar 16, 5-7pm