|
|
|
|
|
|
October 19 through November 9, 2007
Artists' Reception: Friday, October 19, 2007 from 6 to 9 PM
|
|
|
Art Access Gallery
Generations: Carl Oelerich, Brian Schiele, Bill Patterson, Kent Miles & Justin Hackworth
|
|
|
 Art Access Gallery is pleased to host Generations, a photographic exhibition of the Kent Miles Photography Group. This show will feature the photography of Kent Miles and five of his former students: Alan Jackson, Justin Hackworth, Brian Schiele, Carl Oelerich and Bill Patterson.
Generations will hang from October 19 through November 9, 2007.The Opening Reception will be held on Friday, October 19 from 6 to 9 PM, during the Salt Lake Gallery Association's monthly Gallery Stroll.
After teaching at the Salt Lake Art Center for several years, photographer Kent Miles was approached by several of his former students about mentoring a small but serious group of photography students in an ongoing forum. The group began meeting in Miles' studio in 1997 and has continued to meet regularly to explore photographic possibilities and ideas and to participate in a critique of ongoing work.
This group had its first exhibit at the Finch Lane Gallery in 2004. The group's second project is now Generations at Art Access Gallery. The thread that connects the work of the group is the premise that individual commitment to regular participation in a group such as this, results in artistic growth and development at an accelerated rate. The challenge behind Generations is that participants who are influenced by each other, can still create art without sacrificing individual interests or styles. As the photographers in the Generations project considered the theme, many creative responses came forth.
Carl Oelerich made images in western Cuba. He shows a linear progression from childhood to old age of the local guajiros (peasant farmers). Alan Jackson looked for subjects that felt slightly "askew" to him. Brian Schiele did portraits of people that he knew. He also included his subjects in the process by having them write on the photographs thus interacting with them once more. Bill Patterson created nude images of real women vs. model stereotypes, in a progression from an infant through the end of life. Justin Hackworth visits his memories of Rexberg, Idaho in 1985 then goes back home to take pictures of the people there, listens to their stories and hears what they have to say about their hometown. His photographs feature ten generations of Rexburg women. Kent Miles wonders, "Do people exist independent of others? What are the relationships between the people who came before and the people who will come after any specific person?" He hopes that his answers will touch you and amuse you. |
|
|
|
|
|
|
|
|
Access II Gallery
Matthew Jones: Self Taught Origami Artist Uses Recurring Patterns of Nature |
|
|
|
|
|
 Art Access II Gallery is pleased to host origami artist S. Matthew Jones and his Brown Series, Folding Decay. This exhibit will hang from October 19 through November 9, 2007. The Opening Reception will be held on Friday, October 19 from 6 to 9 pm during the Salt Lake Gallery Association¹s monthly Gallery Stroll.
Although folding paper has been a constant in Matt Jones' life, the Brown Series is his first endeavor in expressing a theme for an exhibit through his artistic medium. The Brown Series deals with the essence of tragedy through life cycles in nature. Viewing the twelve pieces of the Brown Series, the gallery-goer begins with death, moves through decomposition and ends with regeneration.
The artist says, "At three years old I became fascinated with the patterns in origami books. I started with paper boulders and quickly advanced to more complex patterns and folds. Though I have no formal training, the geometric principles that govern origami are the same that govern my perceptual observations of the world. I am constantly unfolding and refolding my surroundings. Origami is embedded in my psyche."
In 1995, Jones took his paper structures and added color and placement to create a glimpse of frozen time, an interpretation of life. He shifted from a craftsman to an artist when he began analyzing the structure and pattern of his own cognition and how different parts of his brain interpreted a single idea.
Jones says, "When I delve into the corner of my brain that plays with multi-dimensional forms, it touches the same feeling that triggers my epilepsy. The more I considered this idea, the clearer it became that I can mentally create any structure from a geometric plane. My only limitations are my physical durability and the dimensions of the paper."
The exhibit will also display patterns of folds showing the great number of folds that make up each piece of art. Gallery goers will also discover insects crawling on window ledges, over walls and between pieces of framed art.
|
|
|
|
|
|
|
|
