artists & participants
Opening Reception: Opening May 4th 6-8 PM
Roebling Hall is pleased to present Unseen, works by Sebastiaan Bremer, Kysa Johnson and David Opdyke. United in visualizing the unseen, they share a certain temperament of mind and occasionally method. Delving deeply into the details is a core practice, if not obsession that each indulges; auguring the unpredictable futures, adding intuition to the percepts of the receding past, and finding the conflicts between the apparent world and the one that lies latent, unseen but omnipresent.
Dredge by David Opdyke was recently seen in The Model as Muse at the Addison Gallery of American Art in Andover, Massachusetts. Kysa Johnson: Blow Ups-Spores, Pollen, and Pollutants can be seen through June 10, 2007 at The Aldrich Contemporary Art Museum. Sebastiaan Bremer can be seen in The Photograph as Canvas, curated by Stephen Maine, also at the Aldrich Contemporize Art Museum in Ridgefield, Connecticut through June 10,2007
David Opdyke continues to create detailed, witty sculptures that comment widely on politics, history, media and the environment. Dredge is among his monuments to hubris - the world normally kept concealed, either from the public or the self, often seen from some future. Visions of the present recede into oblivion, defying history and recollection. The role of the model in David’s work continues to articulate the human creation of society’s monuments, but also the human creation of history and its re-creation. This new work was specifically conceived to reside among the historical ship models in the Addison Gallery. Opdyke’s models, however, are like plans for future collapses, apparently ingeniously envisioned for some future appreciation that we are secretly privy to in the present. Recent exhibitions include the above-mentioned Models as Muse, at the Addison Gallery of American Art, Andover MA, along with MR. PRESIDENT at the University Art Museum of the University at Albany, Albany NY.
Sebastiaan Bremer reaches from the vast to the miniature in his recent works. Previously, this contrast of scale has been a primary aspect within the confines of a single work; tiny worlds and universes traced over the real world or the recorded memories of the photograph. As usual, Bremer draws on and into the photographed memory and place – personalizing it, imbuing it with his interior impressions and alternate histories and spaces. New, however is the yawning gulf between the actual size of the pieces; they range in size from the mural to the Persian Miniature, provoking the viewer to peer deep into the trees one moment to see one world, then pushing away to see the forest in the next, simultaneously mapping the historical, metaphorical, spatial and the emotional.
Kysa Johnson furthers her exploration of conflicted beauty, re-imagining masterpieces and the pastoral tradition by scrutinizing it carefully through the lenses that pose different truths about the nature of apparent substance. We see the pastoral through the rendering of the microscopic: the embedded viruses, diseases and bacteria, all bound in the structures we romanticize and imagine as though they were pristine idylls. Her images provoke yet remain thoroughly appealing, clarifying while underscoring the inherent relativism of the ideal and anathema.
only in german
Sebastiaan Bremer, Kysa Johnson, David Opdyke