• Brian Wood and Ashley Garrett

    We're so pleased to be showing the works of Brian Wood and Ashley Garrett in the gallery from August 1st through September 15th. Brian, whose work is in the permanent collections of MOMA and The Metropolitan Museum, will be showing a series of drawings, “…[Wood] creates a kind of Symbolist world in which emerging into life and being devoured by it are part of the same inexorable process. As in the early work by Georgia O’Keefe and Arthur Dove, the erotic and the spiritual are of a piece.” (New York Times).  Painter and curator, Ashley Garrett, who shows in galleries and museums in New York, LA and abroad, brings to our gallery a series of paintings inspired by objects and landscape, inquiring as to how they work to transform us. Join us for an artist reception Saturday, August 5th from 5-7pm. 

    Brian Wood is in the permanent collections of the Museum of Modern Art in New York, the Brooklyn Museum, and the Metropolitan Museum; the National Gallery of Art in Washington, DC; the Los Angeles County Museum of Art; the Houston Museum of Fine Arts; the Blanton Museum of Art in Austin, TX; the National Gallery of Canada; the Montreal Museum of Fine Art; the Museum of Contemporary Art in Montreal; the Museum of Modern Art in Prague; the Ludwig Museum in Cologne; and many others. His works are exhibited internationally and are held in numerous public and private collections.

    Wood's awards include the John Simon Guggenheim Foundation Fellowship, the National Endowment for the Arts Fellowship, the New York Foundation for the Arts Grant, numerous Canada Council Grants including an "A" Grant, and the Woodrow Wilson Fellowship. He is currently on faculty at Hunter College in New York and previously taught at Yale University.

    Wood is currently working with painting and graphite drawing. He is also accomplished in many other media including film, photography, collage, ink drawing, and printmaking.

    Throughout his career, Wood has been immersed in the questions and processes of consciousness, the mystery of intense images arising to awareness, and their complex relationship with and away from time. Broadening this inquiry, while still rooted in his primary medium of painting, he has explored other media including film, photography, drawing, and cross-bred hybrids. Each medium generates different yet complex relationships to time and radically different experiences of space/form. All Wood’s images are connected by the daemon driving their emergence, but his curiosity and extensive investigation into different media, each with its own concrete and metaphorical differences, both perceptual and psychic, have contributed to the particular experience of Wood’s current paintings.

    As described by Holland Cotter in his review in The New York Times (3/14/14) of Brian Wood’s solo exhibition Enceinte, “…[Wood] creates a kind of Symbolist world in which emerging into life and being devoured by it are part of the same inexorable process. As in the early work by Georgia O’Keefe and Arthur Dove, the erotic and the spiritual are of a piece.”

    Born on the prairies of northern Saskatchewan, Wood's early imaginative experience was formed in harsh land, severe weather, and the life and death cycles of animals, crops, and wilderness. Wood's childhood on the farm, his absorption there in both nature and books, and his later studies in science and mathematics combine with his fascination and close attention to the shifting boundaries of body, sexuality, and awareness itself. From these inquiries, and seeing into his constantly arising inner images, come the form and obsessions of his work.

     

     

    Ashley Garrett is an artist living and working in New York City and Red Rock, NY.  She received her BFA from the School of Visual Arts in 2008 after attending Moravian College in Bethlehem, PA for undergraduate study. Recent exhibitions include “Creek’s Risin’,” a solo show at Hood Gallery in Brooklyn and group shows at Orgy Park and NurtureArt in Brooklyn; Planthouse Gallery, Brian Morris Gallery, Novella Gallery in New York City; Torrance Art Museum and TSA LA in Los Angeles, CA, and Geoffrey Young Gallery in Great Barrington, MA. Her oil paintings on paper are included in “Got it For Cheap 2017,” an exhibition of small works on paper traveling to Art Athina, Greece; Macaulay & Co., Vancouver, B.C.; Soulland, Copenhagen; Rod Bianco Gallery, Oslo; Summit LA in Los Angeles; and Honolulu, HI.  In addition to her studio practice, Garrett has organized and curated exhibitions in New York and Los Angeles, both independently and as a member of the artist collective Underdonk in Brooklyn, that have been featured in Art in America, Hyperallergic and NY Observer.  Her work has been reviewed in Painting is Dead, Gorky's Granddaughter and Arts in Bushwick.

     

    Raised on a farm in northeastern Pennsylvania, Garrett grew up in a small rural quarry town surrounded by farmland, wide gray skies, rain-filled quarry holes, and huge piles of slag slate crowding the roadsides.  Like the quarries - empty holes with exposed rock and rough piles of extracted dirt and waste - her work seeks to access the foundation of image-making at its very core. Garrett investigates the bottomless forms memory subsumes. Spurred on by intimately known objects, including her own handmade Christmas ornaments and ribbons won from competing in horse shows from age eight through her 30's, she allows their specific qualities to instigate the work.  Attachment to personalized objects becomes a kind of digestion.  At times the object remains intact, or preserved, shroud-like, and in others there is a foundation of objects and place while allowing the space of the work to fracture, spin out, and open up.

    Landscape spaces, rough and smooth, vast and open, compressed and specific, are another important focus of her work. Garrett's landscape paintings pose questions about human relationship to the land: how does an intimacy of place transform us? Do the spaces, their textures, their qualities, inhabit us? Garrett’s knowledge and experience of animals and the environment, and her respect for the ability of painting to become a kind of magic of the mind, anchor her firmly in painting as a means to communicate to others, to understand more about the self, and more about the way the mind works with the world and our contact with the earth.

     

     

     

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