Flicker + Fade
John M. O'Quinn Gallery
Flicker + Fade is a solo exhibition by Randy Bolton including large-scale, wall and floor-based, sculptural print installations. As an innovative print artist, Bolton employs a kind of visual metaphoric language that is familiar, direct and accessible on the surface, but one that is layered to have a more subversive subtext that is rich in double-meanings and ambiguities. Bolton casts, paints and distresses objects for what he refers to as 'sculptural prints'. His screenprinted images are based exclusively on photographic or documentary evidence - from photos taken on an iPhone of rather ordinary or quotidian subject matter, which are then re-assembled into stage-like settings to introduce a different kind of open-ended, associative narrative structure - one that more fully merges fiction with reality - and one that is reconstructed from a collection of metonymic fragments in which the many seemingly unconnected, unrelated images and objects represent parts of a larger, and not yet defined whole.
Almendra Castillo, Cinthia Gomez & Yma Luis
Cecily E. Horton Gallery
Almendra Castillo, Cinthia Gomez and Yma Luis attempt to recreate a single body of work based upon a series of letters describing each artists sculpture that is then passed on to the next artist for recreation all the while without ever seeing the other pieces. The act is reminiscent of playing a game of "Telephone", where the original message must be interpreted through a series of broken descriptions carried on by the last interpreter. The written pages carry the descriptions over distances; we are in a way functioning as blind satellites relying on our perceived sense of understanding (of one another) and ability to interpret.
Jorge Galván Flores
Grace R. Cavnar Gallery
Alkanzíyya is a full-scale tableau featuring sculpture, painting and textiles that reimagines our material realities to present ideas about how all people might more easily traverse the planet. The gallery space becomes a site for enactments of emotional strategies for intervention and infiltration in the borderlands. The work thinks about the connections between citizenship and sexuality, specifically how personal desire might be linked to self-preservation and survival. The etymology of the word Alkanzíyya-which in contemporary Spanish is spelled "alcancía" (piggy bank)-reveals that the word comes from Arabic into Spanish and refers to a longing for treasure. Ominously, the same word can also be used to mean a ceramic pot full of tar that is lit on fire and then flung at enemies as a kind of ballistic weapon.
Grisaille refers to French decorative wallpaper, popularized in the late 18th and early 19th centuries, on which panoramic scenes and motifs were hand painted or printed in tones of a single color-most notably gray-in order to produce three-dimensional effects. These decorative artworks require painstaking attention to detail, large amounts of time and dedication to create. For this exhibition, Georgia Carter digitally alters photos of grisaille wallpaper and re-draws the new pixilated versions by hand, on handmade paper. Her drawings are exhibited with digital inkjet prints of the same size, and depict images ranging from reproductions of wallpaper panels to patterns found in landscape, textiles, and digital displays. Carter employs both drawing and digital image making methods to reveal compelling contradictions between how images are made and seen today. The work reflects Carter's interest in the artist's hand, attention spans in the digital age, and the question of quality and value as being inherent to labor and skill.
The Expanded Environment
Ned Dodington, Christoph Ibele, Jon LaRocca & Haldre Rogers
Mary E. Bawden Sculpture Garden
BioCity is a cross-disciplinary, six-month-long performance-art-sculpture scheduled to begin at Lawndale Art Center in January of 2016. The project will involve the creation of numerous small-scale structures each one timed, designed and tuned to attract, interface, or illustrate indigenous and migratory life on the site. The project seeks not only to create a beautiful, quasi-natural urban landscape but to address the decline of biodiversity in urban areas.
Part art-sculpture, part habitat; part man-made and part animal-made - our intention is that this Bio-inclusive eco-performance-artwork will transgress, distort and alter anthropocentric world-views by delivering a message of eco-awareness, biodiversity and cross-species collaboration.
Programs at Lawndale Art Center are supported in part by National Endowment for the Arts, Andy Warhol Foundation for the Visual Arts, City of Houston through the Houston Museum District Association, Texas Commission on the Arts, Houston Endowment, The Brown Foundation, Inc., The John R. Eckel, Jr. Foundation, John P. McGovern Foundation, Joan Hohlt and Roger Wich Foundation, Felvis Foundation/David R. Graham, Mid-America Arts Alliance, John M. O'Quinn, Gracie and Bob Cavnar, Cecily E. Horton, Ann W. Harithas, Diana M. Hudson and Lee Kaplan, Jenny and Mark Johnson, Paula Murphy, Nicole and Joey Romano, Scott R. Sparvero, Mary Martha and Joel Staff, Nancy and Sidney Williams, Nina and Michael Zilkha, Abel Design Group, Architectural Floors, Sterling McCall Lexus, TeleFlex, United Airlines and other contributors, memberships, benefit events and many volunteers.