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Tuesday, April 30, 2013
Updated: Monday, December 02, 2013
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No Ordinary Days
Exhibition Dates: May 17 - June 22
Opening Reception and Book Signing:
Friday, May 17
5:00 - 7:00 pm
|The work of Maggie Taylor and Henrieke Strecker are unusual and alluring. They are infused with mystery and a plethora of untold dramas that shift and move with us. With each viewing we discover different stories behind the work. This well-chosen pairing of artists, who both draw on discoveries, fragments, even common forms, reminds us that all is not what it seems, and they allow us to play with layers of possibility.|
A selection of work from Maggie Taylor's recent retrospective publication, No Ordinary Days, which draws on works created from 1998 - 2012, to be presented. Taylor continues her use of scanning and enhancing vintage daguerreotypes, tintypes, figurines, illustrations and photographs with exceptional result. The works are infused with nostalgia, in part because of their starting points, and in part because of their ability to tug on the threads of our own past- the memories, fears, dreams, and fantasies of our childhood. The works are fantastic as ever, and notable new pieces include The Divide, an image which both separates and connects a pair of sisters; Magnificent Obsession, the expansive and detailed vision of an elegant gent, perhaps a scientist or explorer, with clear blue eyes that pierce and sink as layers of a coral pattern lift from his vest and stretch to almost cover the print; and Home is a Memory a tragically charmed piece of a once elegantly dressed woman now literally crumpled, she clings to her role of protector even though her own stability seems paper-thin.
Also on view are well-chosen works by German-born and New Hampshire-based artist Henrieke Strecker. Strecker too uses alternative processing to create her images. She teaches The Art of Photography (analog photography) & Historic Photographic Processes at Plymouth State University in New Hampshire. Her photogravures are all drawn from a process of reduction. Strecker uses elements, forms, shadows, shapes from the surroundings of her own back yard to reveal the "fields of vision hidden well beneath the surface" (Verve). The resulting images are haunting- both clear and undefined. Scale seems at times hard to determine and we can not always be sure if what we are looking at is macroscopic or microscopic. This inability to define with certainty keeps the work fluid and malleable and our assigned narratives are open to shift and be redefined. There is also a tension between serenity and chaos. In works like The Pilgrim it is unclear if what we want to define as a figure is holding back or about to be enveloped by the coming darkness.
For more information on the exhibition, please visit Verve Gallery
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