Fri­day, April 28th, 2017 from 6 — 9 pm

Sculp­tor Jason Smith says of his work “In my pur­suit of artis­tic expres­sion, sculp­ture has always been my pri­mary con­cern. I have worked in many medi­ums but metal has remained best suited for my work because of its strength, mal­leabil­ity and inher­ent beauty. My sculp­ture is abstract. The abstract manip­u­la­tion of form in space to cre­ate visual bal­ance, using rhythm, action and move­ment, com­bine to cre­ate com­po­si­tions that con­vey the implied energy found in my work.”

Eve­lyn Ward intends to make “good, use­ful pots that some­one will enjoy using every day,” but her process for cre­at­ing them is far from sim­ple. Each piece passes through a labor-intensive salt fir­ing, and then a sec­ond elec­tric kiln fir­ing, which fas­tens ceramic decals of del­i­cate plant draw­ings or pho­tographs into place result­ing in sepia-toned stud­ies of seed pods or leaves con­trasted against the rich, salt-glazed back­ground. Eve­lyn cre­ates all of the images for the decals, which are made from her pho­tographs and draw­ings of botan­i­cal sub­jects. “Dur­ing the last sev­eral years my paint­ing has been much more process-oriented than my pre­vi­ous fig­u­ra­tive work. These newer pieces grow out of exper­i­men­ta­tion with the raw ele­ments of painting–texture, mark, form. More and more, I seek my way to the fin­ished work through mark rather than image. The final paint­ings are records of this process. What I find com­pelling is the arche­ol­ogy of them, the way pre­vi­ous sur­faces inform and affect later ones.”

Ellie Rein­hold describes her cur­rent work this way: “Sev­eral years ago I inad­ver­tently fell in love with deploy­ing grids of geo­met­ric form, loose struc­tural ele­ments, like a spray of cir­cles or a grid of rec­tan­gles, to both break up and hold together my images. I fell in love with the bal­ance these paint­ings struck between land­scape and abstrac­tion. And how, in lucky moments, the rep­re­sen­ta­tion that remained was some­how stronger once it had been pulled away from con­ven­tion. While my work is informed by nature and includes rep­re­sen­ta­tional ele­ments from the nat­ural world, (tree forms in par­tic­u­lar), my process pulls it away from sim­ple land­scape into a dif­fer­ent arena altogether.”

There’s a lot of play in this” says Rein­hold, “It’s not an exact­ing process. In fact, much of the time it demands a play­ful, risk-taking, even destruc­tive, approach. A con­stant will­ing­ness to let go of things I love– to destroy  what’s on the can­vas in order to find the path to a bet­ter painting.”

While con­sid­er­ing a title for this three per­son show, Smith, Ward and Rein­hold sifted through lots of words in an effort to evoke their cre­ative com­mon­al­i­ties. Many came from geom­e­try – inter­sec­tion, struc­ture, con­verge, planes, par­al­lels, per­spec­tive – which crops up in all of their work. And then there were the words evok­ing the ele­ment of play… nat­ural, spon­ta­neous, essen­tial.
In the end, each is focused on some essen­tial geo­met­ric and process-oriented dia­logue within their work, and they are def­i­nitely run­ning and play­ing with it!