Main Gallery March 1 through April 19, 2019
FROM A DISTANCE AND BACK
Reception: Friday, March 1, 6 to 9 pm
ArtWalk: Friday, April 5, 6 to 9 pm
From A Distance and Back features works of art by nine renowned Texas artists, including Robbie Barber, Danville Chadbourne, Kurt Dyrhaug, Sharon Kopriva, Gerald Lopez, Hans Molzberger, Mari Omori, Sherry Owens and Greg Reuter. This opening reception kicks off Contemporary Art Month-CC during ArtWalk.
FROM A DISTANCE AND BACK
Germany, Summer 2017: Nine Texas artists assemble in the medieval town of Salzwedel at the Mönchskirche, a 13th century former monastery church in the northern province of Sachsen-Anhalt, for From A Distance, an exhibition of Texas-based artists associated over several years with Atelierhaus Hilmsen, an artist residency located in the nearby rural hamlet of Hilmsen.
Selected by Houston-based curator, impresario, and Atelierhaus Hilmsen Board Member Gus Kopriva, along with Director Hans Molzberger, the show featured some of the leading artists in Texas who had worked at Atelierhaus Hilmsen at various points in recent years. Assembled in Germany for the first time all together, most of these artists were already friends and colleages. But working and living together in a shared space creates a heightened connection, a different dynamic. The exhibtion consisted of works created at the residency or influenced by past experiences there. Assembled in the humbly majestic Mönchskirche, one of the City of Salzwedel’s premier exhibition and concert venues, it was a beautiful experience.
Back in Texas, the friendships and artistic give-and-take continue. Drawing on the camaraderie, aesthetic dialogue, and visual strength of the original exhibition, the artists are together again for another round in From a Distance and Back, presented by K Space Contemporary.
Reflecting the influence of the rural German environment and the shared workspaces, conversations, and experiences of the residency, From a Distance and Back features some of the original works, plus new or related ones that reveal the subtleties of each artist’s vision. Drawing on the textures, materials, and aesthetics of the experience in Germany, these works draw equally on the shared context of home, with each artist internalizing a myriad of influences refined into a distinct, individual vision unique to their perceptions. The result is an engaging exhibition of works shaped by distinct regional and ethnic backgrounds, and ongoing friendships forged in Texas, tempered in Germany, and echoing through the distance. — Diana Lyn Roberts, Atelieraus Hilmsen Resident, Summer 2016 and 2017
Gift Shop April 5 – 26, 2019
Fruits & Nuts: Matt Peterson
Reception: April 5, 6 to 9 pm
Statement: I was born and raised in the San Juan Islands of Northwest Washington. Our household heat source was a fireplace that was stoked from driftwood. The daily chore of gathering wood and building a fire provided insight into many wood species and the unique properties of each. Survival is a great incentive along with two brothers and sisters. One advantage of owning a piece of my work – if you get tired of it, you can always burn it for heat.
Schaudies Gallery: April 5 – 26
Annual Conflict: Paintings by Jack Wood and Alex Diamond
Opening Reception – Friday, April 5th, 6pm-10pm
Jack Wood and Alex Diamond make pictures linked by a search. Jack goes left and right. Alex goes up and down. Contrary geographies are tied in existential orbits, tensions pull across hemispheres. Horizon recedes, jittering in and out of sight; a momentary ouroboros. Not here nor there, like a valence electron, arrives and departs simultaneously, succinctly shared and dispossessed. You feel its silent gravity in your bones. Then, the horizon is like a silhouette, a whisper of the future. Inside the earth there is no horizon, no shade, endless mass, bluffing forever, it shares with the shadow, movement beyond call. There is a compulsion to shrink or expand exponentially, passing visibility, surrendering cognition. In any case, the search becomes measureless arithmetic.
Through painting Wood and Diamond display different approaches to a shared question of disunion. Diamond’s painting has an oblique neutrality. His method is machinelike, resisting both hope and despair. His paintings exhibit a flat affect, revealing an acquiescence of fate. Alternatively, Wood’s paintings are nostalgic, hopeful, and utopian, embracing the light of the future, bound and confused by desire. They suggest a romantic becoming toward the brink of time, love through hallucination.