Dec 272024
 

This is the last weekend to see the interactive installation Pixel Promenade Remix by Radiance (Erin Barry-Dutro and Kyle Steely) at The Delaware Contemporary in Wilmington. The work, located in its own room, is activated by body movement and creates fun multicolored light shows for participants.

From the museum-

Baltimore-based artist duo Erin Barry-Dutro and Kyle Steely, known as Radiance, construct site-specific installations that merge technology with active sensory participation. Their individual practices inform the ultimate collaboration; Erin Barry-Dutro is a visual artist and Kyle Steely is a designer/maker working with coding programs. Together, they envision products and environments that are aesthetically dynamic through functionality. Largely, the resulting projects have responded to music, movement, and the senses, ultimately addressing our humanity and how we interact with our environment.

In response to the theme of “Design”, Radiance proposed an interior version of the Pixel Promenade, which was originally installed for the Baltimore Light City Festival in 2016. Based on the original concept, Pixel Promenade Remix invites visitors to move within the installation, acting as the catalyst for oscillating color and light. Participant body movement is captured and tracked to orchestrate a light show orchestrated and centered on the individual. This simple gesture enables a sensorial experience; a direct connection between our bodies and a reactionary force.

This revitalized installation offers not only an elegantly crafted encounter but additionally initiates a dialogue about the nature of technology-based art forms and their inevitable decay. When invited to re-create the installation, Radiance took the opportunity to reflect, update, and consider the space with new possibilities. In doing so, they sought to answer questions about design innovation; what does it mean to reuse and recycle these materials? How can artwork that relies on technology be adapted to more closely resonate with contemporary topics and ideas? Pixel Promenade Remix presents the conceptual argument that “the new” is not always necessary, rather the importance lies in its relevancy and ability to reflect its participants.

This exhibition closes 12/29/24.

Dec 202024
 

Chau Nguyen, “Bài Học Về Phong Cảnh / Landscape Didactics”, 2022, sand painting

Zalika Azim, “Blood Memories (or a going to ground)”, 2023, video

Azza El Siddique, “Vessels”, 2019, ceramic, rust

Suneil Sanzgiri, “Two Refusals (Would We Recognize Ourselves Unbroken)”, 2023, video

Currently on view at The Delaware Contemporary is we are what we lose, an exhibition featuring artists Zalika Azim, Suneil Sanzgiri, Azza El Siddique, and Chau Nguyen. Through sculpture, dance, video and photography, these artists investigate issues of loss through what gets left behind.

From the museum-

“The real phenomenon of loss is both the inventory of what no longer exists and the impossible measure of what survives.” —Canisia Lubrin

What does the fugitive offer to sites of ruins? Is it a hum, a murmur, a cry, a shadow, a haunting, a poem, a memory, a scene, a loved one, a vessel, a movement, a gathering?

Fugitivity routes and unroutes our understanding of topographic terrains created through the unfolding of displacement, relocation, and exile. In the wake of migratory catastrophes, ruins are the aftermath of loss and devastation, leaving behind vestigial remnants and residuals. Reaching for traces, illegibility, and livability, the fugitive attempts to depict and texture multiple lifeworlds within ruins marked in loss and devastation. Gesturing towards the specter, how might placing what happens within sites of ruins —the permeable, usable, corporeal, and inhabitable—at the heart of our critiques and interventions enliven our imaginative possibilities?

Ruins present a set of spatial, material, visual, and psychic dimensions of un/being and becoming, as well as modes of fugitive resistance and expression. Tending to the juxtaposition of being unplaced, we are what we lose focuses on the provoking void that ruins leave behind and expresses spatial, narrative, and material practices actively and painstakingly situated in the hold of the catastrophes as means of reworlding and unworlding towards livable possibilities.

Partaking in worlding decomposition, Zalika Azim, Suneil Sanzgiri, Azza El Siddique, and Chau Nguyen present visual, narrative, and sonic performances that desire and action towards the otherly present meaning and aliveness by uncomposing time and working with the permeability of the artistic mediums. By engaging with the barely perceptible imaginations, unplaced yearnings, and tactile and vulnerable terrains, the artists orient toward spectral terrains that suture, resist, and refuse the knowability of the fugitive. Viewers will reflect on the histories of ruins haunting our contemporary sites and their capacity to mutate to make complicated ways of knowing, feeling, and seeing the world.

More information on Suneil Sanzgiri’s video installation, pictured above, from his website

How do we live through and narrate moments of revolution and revolt, and how do we understand these experiences across time and distance? Using imaging technologies to meditate on what it means to witness from afar, Suneil Sanzgiri explores the complexities of anti-colonialism, nationalism, and diasporic identity. His work is inspired by his family’s legacy of resistance in Goa, India, an area under Portuguese occupation for over 450 years until its independence in 1961. Two Refusals (Would We Recognize Ourselves Unbroken?), the artist’s newest two-channel video installation, combines archival footage, animation, interviews, and a script written by poet Sham-e-Ali Nayeem. The film tells the stories of the mutual struggle in India and Africa against Portuguese colonialism, highlighting the solidarity that developed between the two continents during the 1960s and 1970s.

This exhibition closes 12/29/24.

Dec 202024
 

Work by Carl Durkow (cloud chair), Trish Tillman Wood sculpture far left and sculpture far right pictured below) and Langdon Graves installation (blue walled area)

Installation by Langdon Graves, mixed media sculptures and framed drawing

Trish Tillman, “One Last Drink”, 2018, vegan leather, tweed, ultrasuede, chrome edging, wood, foam, thread, and glass

Trish Tillman, “One Last Drink”, 2018, vegan leather, tweed, ultrasuede, chrome edging, wood, foam, thread, and glass (detail)

Trish Tillman, “Candy Cigarettes”, 2024, hand-dyed leather, UV print on leather, thread, leather buttons, wood, foam, and metal hardware

Trish Tillman, “Giving Space”, 2023, hand dyed and UV printed leather, wood, foam, thread, polymer clay, and acrylic

Carl Durkow (left to right) “Cloud Side Tables”, 2023, MDF, formica, aluminum; “Diced Pineapples”, 2021, fiberglass, pigmented resin, polystyrene; “Musque Benches”, 2023, fiberglass, pigmented resin, polystyrene; “Peek Lamp I”, 2023, MDF, formica, aluminum, fabric, and “Peek Lamp II”, 2023, MDF, formica, aluminum, fabric, neon

“Musque Benches”, 2023, fiberglass, pigmented resin, polystyrene; “Peek Lamp I”, 2023, MDF, formica, aluminum, fabric, and “Peek Lamp II”, 2023, MDF, formica, aluminum, fabric, neon

Langdon Graves, Trish Tillman, and Carl Durkow all bring a distinctive vision to their sculptures for The Dream Expedition: A Design Exhibition, currently on view at The Delaware Contemporary. The intriguing works combine the familiar with the enigmatic to capture the viewers imagination.

From the museum-

This year marks the 100th anniversary of the Surrealist movement. Introduced by poet and critic André Breton’s Surrealist Manifesto (1924), Surrealism reaches beyond reality to explore dreams, unconsciousness, and absurdities of the human condition. The movement greatly influenced the future landscape of design through the phenomenon of Surrealist Objects–exemplified by the work of artists like Méret Oppenheim or Man Ray. The Surrealist Object, and other surrealist sculpture, presented three-dimensional manifestations of unconscious symbolisms offering introspective and reflective opportunities.

Over the last century, the field of design and the concepts of surrealism have consistently informed one another; design objects were often the focal point of surrealist sculpture or assemblage, while designers incorporated surrealist processes into their design work. Today, contemporary artists and designers continue to draw inspiration from surrealist concepts to reflect a diverse range of emotions, ideas, and experiences. The Dream Expedition aims to celebrate the elements of surrealism that influence contemporary design and sculpture to further bridge the divide between “Fine Art” and “Design.”

Each of these three artists pushes preconceived notions of sculpture and design to their limits. Carl Durkow’s works are fully functional design objects, yet they venture into the surreal through their abstraction of forms and aesthetics. Langdon Graves’ sculptural works engage familiar design and organic objects in new, unexpected ways questioning our relationship to memory and the world around us. In her work, Trish Tillman incorporates materials that we typically associate with design–vegan leather, cushions, wood, or upholstery–creating sculptures that seem to morph and bend with dreamlike movement.

This exhibition closes 12/29/24.

Dec 192024
 

“Fire in the Fishtank (Synchronized Dance)”, 2022, oil on birch, white oak, cherry, walnut

“Blue Like Jazz”, 2022, oil on birch, oak, and “Who more Sci-Fi than us?”, 2023, acrylic on mdf, walnut

“Blue Like Jazz”, 2022, oil on birch, oak, and “Who more Sci-Fi than us?”, 2023, acrylic on mdf, walnut (detail)

“Even Keel”, 2019, various wood, and “Yellow Butter, Purple Jelly, Red Jam, Black Bread”, 2023, acrylic on mdf, cherry

“Even Keel”, 2019, various wood

“Crowd IV”, 2016, woodcut print on BFK Rives cream

Multidisciplinary artist Nate Harris’s work for Arrangement, his solo exhibition at The Delaware Contemporary, highlights his ability to use his training in graphic design to create unique work using a variety of materials.

From the museum-

Design begins with the fundamentals; lines, shapes, and colors create compositional variety. No matter how complex the resulting product is, it can be broken down into these foundational elements. A keystone of design is “arrangement”. It defines whether the composition is representational or abstract, if it is a pattern and showcases repetition, or highlights key moments of visual interest. Multidisciplinary artist, Nate Harris, understands the critical nature of arrangement and by examining several mediums, showcases his expansive power of this knowledge base.

Based in New York City, Nate Harris is a formally trained graphic designer, who utilizes these fundamental elements as a launching point to direct variable bodies of work. While Harris produces with an array of mediums and in a range of scale, wood is a central throughline in much of his work. In his practice, wood can be utilized as an incised tool to create graphic prints or carved as an added sculptural element. Inspired by experimentation, Harris does not discard materials, opting to hold onto wood shards and other spare pieces. These leftovers are saved, sometimes for years, as shapes destined for unknown, future works. Harris navigates this “library of materials” as an iterative resource and a welcome limitation; the path into his experimentation that is also influenced by spatial constraints within his studio.

With a deep understanding of graphic elements, Harris can combine this education with his innate comfortability with wood as a medium. As a young man, Harris liked to work with his hands; fixing his bike and building skate ramps with friends, and this foundation has allowed Harris to transcend the medium within his practice. Through shape, color, and line, Harris consistently redefines his aesthetic. His woodblock prints can depict geometric figures animated with movement, while others may showcase abstract and clean duplication, ultimately becoming patterns themselves. Harris will expand from the surface itself, layering wood in conjunction with other materials, or will use numerous types of wood to create a free-standing sculpture.

Harris’s approach is based on fundamentals, uniquely propelled through material, and grounded in experimental vigor. These works showcase his keen sensibility as a designer, while simultaneously blurring this concept with fine woodworking. Harris is in dialogue with these two constructs continuously to create a style that expands definitions of design and fine art together.

This exhibition closes 12/29/24.
Dec 192024
 

Lillian Bayley Hoover, “a planet swayed by breath”, 2024, oil on Dibond panel

Lillian Bayley Hoover, “a planet swayed by breath”, 2024, oil on Dibond panel (detail)

Marion Fink, “A mountain top full of achievements-a woman thinking of the sea.”, 2022, monotype, oil color and wax pastel on paper (left) and Lillian Bayley Hoover “here, witnessing now”, 2021, oil and pastel pencil on Dibond panel (right)

Marion Fink, “Night Sky Dreamer”, 2022, monotype, oil color and wax pastel on paper

Lillian Bayley Hoover, “the grass still sings”, 2019, acrylic and oil on Dibond panel, and “no ruined stones”, 2020, oil on Dibond panel

Teresa Shields, “Trending Threads”, 2016-17, embroidered felt and wool letter blocks, wood

Part of The Delaware Contemporary’s series of exhibitions exploring the intersection of art and design, Fissures in the Frame presents work from three artists- Marion Fink, Lillian Bayley Hoover, and Teresa Shields.

From the museum-

Although technology has increased the ease and availability of interaction, human connection has arguably become more difficult. Our daily lives have become reliant on those systems that enable, and even promote, us to interact. Modes of interchange have become more mediated; physical spaces and resources are afforded to those with access, while digital realms are accessible, but commandeer attention away to fabricated unrealities. The undercurrents of which reveal cracks; and fractured existences due to disconnect. Marion Fink, Lillian Bayley Hoover, and Teresa Shields probe these fissures, unveiling their nuance and paradox.

Marion Fink creates layered, large-scale monotype portraits that are rich with narrative elements in surrealistic settings. Raised in the early years of the digital age, Fink’s portraits allude to moments of fragmented realities; the paradox of actual, lived experiences conflated with their existence through the internet. Figures are isolated within fabricated spaces, revealing the parallels between emotion and circumstance. Fink beautifully captures these moments through competing perspectives and complex feelings.

Lillian Bayley Hoover paints landscapes that reveal features realistically while omitting others. These visual fissures that bar the viewer from accessing the remaining painting reflect the perceived separation between nature and the “human world”; one that frequently feels disconnected even though we are all of one world. Hoover investigates how nature is a witness to human life; the designed spaces that shape our world, but also those that we have inherited and how nature acts as a historical record of us.

Multimedia artist, Teresa Shields, presents an interactive installation consisting of 140 individual wooden panels that represent the maximum characters of a post on X (formerly a Tweet on Twitter) and are meant to be moved to form a message. Shields explores our relationship with language; the contradiction between the immediacy of a digital post versus that of a physically crafted message. The activity is simple but offers the opportunity to slow down, collaborate with others, and make new meanings entirely.

This exhibition closes 12/29/24.