July 22 - September 2, 2016
SMALL EDITIONS is pleased to announce Summer Show: Andrea Bergart, Lauren Clay, Sheryl Oppenheim. An opening reception will be held at Small Editions on Friday July 22nd, 2016 from 7pm to 10pm and will be open to the public Monday through Friday noon to 5pm, July 22 through September 2, 2016. Summer Show is a collection of works that walk the line between media.
Considering art history and its relationship with craft and textiles, the works subvert patterns by unwinding or repurposing them. Bergart challenges the separation between painting and printmaking, Clay makes marks in real, three-dimensional space, and Oppenheim opens up marbling to the realm of painting. With work that resists the definition of multimedia, Summer Show: Andrea Bergart, Lauren Clay, Sheryl Oppenheim is a show of liminality.
Andrea Bergart strives to challenge the perception of pattern and repetition in relation to form: three-dimensional objects from the everyday are arranged and then processed into stamped, flat images. Materials employed include broken tile, peanuts, and dollar bills. Andrea uses a wide range of platforms outside traditional artist spaces, including cement trucks and large fabric cyanotypes to engage with new and unexpected audiences. In the studio, Bergart makes acrylic paintings which use a resist process related to traditional wax batik. Patterns often reference her experiences playing team sports on a court and her time spent in Africa.
Sheryl Oppenheim is a painter and self-taught marbler. Her work reflects the serendipitous nature of the process and applies it as an optimistic metaphor for life experiences. Oppenheim elevates the ‘craft’ of marbling by using fine art materials like paint on canvas to translate marks made in one medium to another. Engaging with the nomadic history of marbling, she plays with the concept of variable time through her largely black and white paintings.
Lauren Clay’s most recent works are bodily paper-pulp sculptures with traces of Frank Stella’s geometric paintings. Clay inscribes the body onto Stella’s figureless works by reclaiming them in wall-mounted white organs. Like a weaving with the weft undone, Clay’s paper-pulp sculptures twist and dangle off the edges. More and more, the works are becoming clumps of these forms and straying from their previous patterns.
The publication Scatterings of Sinthian was released concurrently with this exhibition and is available for purchase in our shop.