PAT R I C I A
ROVZAR GALLERY
A D A P TAT I O N S
Tracey Adams , pa i nt i ng s wi th pig mented beeswax , o i l & co ll age
M orga n Brig , s c ul pt ural wo r ks in co pp er, ena mel a nd mi xed m edia Ra chel Brume r , pa i nt ing s a n d sc u l pt ures in f i b er a nd mixed m edia S usa n Fre da , s c ul pt ures i n woven wire, g l a ss & resin J a n Hoy , c e ra mi c a nd stone Brenda Mallor y , pa p er, beeswax , nu t s a nd bo lts C hri s M ayn ard , di me nsi o na l wo r ks in c u t feath ers Rebecca Szeto , oi l on ca r ved rec yc led br ushes
A DA PTATION S G R OU P E X H I BI T ION JULY 2 - AUGUST 3, 2015 ARTIST RECEPTION THURSDAY, JULY 2, 6 - 8PM
Patric ia Rovza r Galler y is p le a se d to p re sent a g ro u p exh i b i t i o n ti t l ed Adaptatio n s . A rec ept io n fo r t h e a r ti st s w i l l b e h e l d F i rst Th u rsd ay, J ul y 2 nd, from 6:00 to 8:00 PM in co n ju n cti o n wi t h S eatt l e’s A r t Wa l k. T he exhibition w ill co nt in u e t h ro ug h A u g u st 3 rd .
“Adaptatio n s ” fo c u s es o n a co l l e ct i o n o f wo r ks craf ted i n u n i q u e me diums, an d a d apte d by u s in g m ater i a l s th at h ave a l te r n at i ve u ses. For some artist s t h e m ate ria ls m ay i n cl u d e re cycl ed o r m o d i f i e d p ro d u cts , and altern at ivley o t h e rs u s in g p ro d u cts th at si m p l y ca n b e u se d fo r o t h er purpose s . T h e c u rate d s e lecti o n s i n cl u d e b o th 2 - a n d 3 - d i m e n si o n a l work and s h owca s es ex t rao rd i n a r y a r two r k cre ated by th e fo l l ow i ng ex traordinar y art ist s .
PAT R IC IA R O V Z AR G A L L E RY 1 2 2 5 S ECOND AV E N UE , SE AT T LE , WA 9 8 1 0 1 206-223-0273 w w w. ro v za rg a l l ery. com
TRACEY ADAMS
Ca n dl e s, cosmeti cs, and l ost wax m old s. P reser v in g wood , lu b r icatin g s c rews, condi ti oni ng surfaces, p olish in g con crete or p laster an d waterp ro ofi ng l e athe r are a few u ses for th e am azin g an d versatile b eeswax . Wh ile I ofte n e mpl oy di ffe rent m ed ia in my p aintin g s, b eeswax rem ain s th e pri mar y mate ri al I work w ith . M olten b eeswax w ith or w ith ou t p igm ent, has wonde rful l y se n su ou s p rop er ties f rom its h on ey- like sm ell to the l umi nous surface created . B eeswax was u sed m any h u n d red s of yea rs ago to pre se r ve the faces of th e d ep ar ted (Fay u m p or traits) an d m ore re ce ntl y, by arti sts i n th e m id - 2 0 th centu r y in th eir p aintin g s (Jasp er J ohns). I’ve be e n workin g w ith b eeswax for 2 0 years n ever tir in g of th e i nfi ni te possi bi l i ti e s an d b eau ty it com m u n icates.
(r )evo lu tio n 4 2, 30”x60”, pigm ented beeswax , oi l , col l a ge on p a n el
L umeni s 29, 36”x36”, p i g m ented b eeswax , oi l , col l a ge on p a n el
(r )evo lu tio n 3 9 , 40”x40”, pigm ented beeswax , oi l , col l a ge on p a n el
(r )evo lu tio n 34 , 40”x40”, pigm ented beeswax , oi l , col l a ge on p a n el
(r )evo lu tio n 1 7 , 36”x36”, pigm ented beeswax , oi l , col l a ge on p a n el
(r )evo lu tio n 33 , 48”x40”, pigm ented beeswax , oi l , col l a ge on p a n el
MORGAN BRIG
I love t h e h u nt fo r o d d found objects. I have always been attra c ted to t h e u n exp e cted jux tapositions that happen within t h e p ro c ess o f my 3D collage, never quite knowing what new co mb in at ion s w ill bring pure delight. I like the puzzle of h ow t h in g s attac h together, being aware of the necessar y ord er of p ro c ess - firing enam el, brazing m etal, transferrin g imager y, ma k in g cold joints and creating patinas. And f in ally, I love t h e way my em otions and subconscious f ind th eir sto r y- tellin g way into my work no matter where my co n sc io u s b rain is. That is absolute magic for me.
I ntro sp e c ti ve Refl ecti on 30”x15”x4”, co ppe r, e namel, brass, mixed medi a
Typ e A 2 2”x7”x3” co pper, enamel, brass, mixed medi a
Typ e B 2 5”x10”x2” co ppe r, e namel, glass, mixed medi a
D rivin g Passion 7 ”x9”x6”, coppe r, e na mel, glass, mixed media
A Ti me to Sow 16”x2 4 ”x5 ”, copper, ena mel , g l a s s , mi xed medi a
S h e Co me s to Thi s Pl ace wi th Dr eam s & Gum ption 9 ”x14”x5”, coppe r, e na mel, brass, mixed media
We a re Not Human B ei ngs Tr y i ng to b e Sp iritua l, We a re Sp iritua l Being s Tr yin g to be Human 23”x18”x12”, co ppe r, glass, mixed media
S o me d ays S h e i s Nucl ear Power 1 8”x 23”x11”, coppe r, b ra ss, mixed media
RACHEL BRUMER
I met Rhonda at a women’s prison. The prison arts program I worked with gave each woman a blank spiral notebook. She used hers to keep a journal. I don’t think she had ever written in a journal before. She started drawing and writing poetry in the notebook. When I saw her one evening during another visit, she said that her journals were missing from her cell. She thought the guards had stolen them. She wanted to get them back but so far as I know, she never did. Later, I found her lost notebooks, along with a diploma.
R h on da’s Lo st N o tebooks, II 3 8 ” x 9 1/2” x 5 1 /4” woo d, b o a rd, fi be r, hand dyed, waxed and pa i nted, va n dy ke pri nt, embro i der y
Upr i ght Reader ’s Brig a d e 39 1/4” x 15 1/2” x 2” wood, f iber, hand dyed, waxed a nd pa i nted, embro i der y
Yo u r Dipl oma I, 2015 64” x 4 6” x 3” Fi be r, h a nd dyed, waxed and painted, va n dy ke pri nt, embro i der y
Yo u r Dipl oma II, 2015 64” x 4 6” x 3” Fi be r, h a nd dyed, waxed and painted, va n dy ke pri nt, embro i der y
SUSAN FREDA
Su s a n Fre da’s l ove of the dre ss for m b egan w h ile sh e was a stu d ent at th e R h od e I sl and School of De si gn. H er stu d ies ex p lored ar m or an d b od y coverin g s a s we l l as tradi ti onal l y fe m in in e weav in g tech n iq u es su ch as croch et an d kn it. Ove r ti me she deve l ope d a system of loop in g , sim ilar to croch et, an d b ega n b ui l di ng i nstal l ati ons, scu lptu re an d jewelr y. Wor k in g f rom a sp ool of w ire, Fre da we ave s conti nuously f rom a sin g le stran d . T h is m eth od is ef f icient a n d m in i mal and l e ave s room fo r h er organ ic an d ep h em eral d esig n . H er close attentio n to l i ne and form give her scu lptu res th e ab ility to f u n ction as th reed im en s ional drawi ngs. Shadow an d lig ht are an integ ral p ar t of th e ex p er ien ce of the work that ofte n i ncor p orates g lass, resin , an d h an d m ad e p ap er.
Ca re u la Cu pre 2 9” x 2 6” x 1 0” coppe r w i re , cast g lass & teal powder
Mican s Vitro 3 6” x 2 2” x 10” bra ss w i re , resin, cast glass & meata l powder
A u ri Hyac inth 3 6” x 1 9” x 1 0” bra ss w i re , cast glass
Care u la S te lleae 5 0” x 1 6” x 1 0” coppe r w i re , cast g lass
S ide re S p iritus 2 9” x 2 6” x 1 0” coppe r w i re , cast g lass & teal powder
JAN HOY
Th is se ri e s of scul pture s takes two m ater ials, clay an d ston e an d a d a pts one to the othe r. In several p ieces su ch as “Intersection II”, “ Cradl e I”, and “C radl e II” th e ston e m ir rors th e for m of th e clay as well as supports i t. Wi th “S isters” th e clay organ ically g rows ou t of th e stone and in “ Whorl ” an d “ Tw in in g ” th e ston e g ives b alan ce to th e cl ay scul pture - one re l y in g on th e oth er.
S iste rs 1 6” x 1 9” x 1 1” f i re d c l ay wi th iron oxide f inish, soapsto ne
Crad le I 9” x 9.5” x 7” f i re d c l ay wi th iron oxide f inish, basal t
Crad le I I 8” x 8” x 5” f i re d c l ay wi th iron oxide f inish, basal t
Twin in g 2 7” x 1 9” x 11” fi re d c l ay wi th iron oxide f inish, soapsto ne
I nte rse c tio n I I 1 5” x 1 8” x 9 ” f i re d c l ay wi th iron oxide f inish, soapsto ne
Wh o rl 1 3” x 1 6” x 13” fi re d c l ay with iron oxide f inish, ba s a l t
S e ntin e l 7 .5 ” x 1 3” x 6 ” f i re d c l ay wi th iron oxide f inish, soapsto ne
BRENDA MALLORY
Bren d a Mal l or y ’s work range s f rom in d iv id u al wall- h an g in g s an d scu lptu res to la rge -scal e i nstal l ati ons. S h e wor ks w ith m ixed m ed ia in clu d in g organ ic m ateri al s such as cloth, fi be rs, an d b eeswax creatin g m u ltip le for m s th at a re j o ine d wi th crude hardware or m ech an ical d ev ices in ways th at im p ly ten u ous conne cti ons and abe r ration to referen ce id eas of inter feren ce an d d is ru pti on i n l ong-e stabl i she d system s of n atu re an d h u m an cu ltu res. Ma llo r y grew up i n Okl ahoma an d is a m em b er of th e Ch erokee Nation . S h e receive d a BA i n L i ngui sti cs & E n g lish f rom U CLA an d a BFA f rom Pacif ic N o rthwe st C ol le ge of Art. Sh e cu r rently lives in Por tlan d O regon . M allor y h a s rece i ve d grants from the O regon A r ts Com m ission , Ford Fam ily Fou nd ation, Re gi onal Arts & C ul ture Cou n cil, th e Fou n d ation for Contem p orar y A rt in New York and i s a re ci p ient of th e 2 0 1 5 E iteljorg Fellowsh ip . S h e is a Mentor i n the MFA Appl i e d C raf t an d Desig n P rog ram at P NCA +O CAC.
Me c h a n ic s o f Hi ther & Yon #20 3 0” x 3 0” x 1 7” Waxe d c l o th, nuts, bolts, welded steel
Pro te an For ms 4 8” x 72” x 4” Waxe d cloth, nuts, bolts, welded steel
Mechani cs of Hi ther & Yon #3 3 7” x 14” x 14” Waxed cloth, nuts , bo l ts , wel ded steel
Inter r upted Form s #4 64” x 16” x 3” Waxed cloth, wel ded steel
U n dul ati ng wi th Densi ti es 36” x 50” x 4” Waxed cloth, nuts, bolts, we l ded steel
Wavefor m #5 46” x 8” x 5 ” Waxed clo th, wel ded steel
Mechani cs of Hither & Yon #3 2 9” x 16” x 16” Waxed cloth, nuts , bo l ts , wel ded steel
CHRIS MAYNARD
For C hri s Maynard, bird feath ers are a sm all b it of p er fecti on. Fe athe rs mark n atu re’s p in n acle of ach ievem ent: th e i nte rse cti on of funct ion an d b eau ty. T h ey m ake f lig ht p ossi bl e , i nsul ate agai nst water, su n an d w in d ; an d th eir colors and patte rns he l p them h id e an d attract m ates, an d w h en bi rds she d or di scard th eir feath ers h e recycles th em in h is art. To cre ate hi s sh ad ow- b oxed wor ks, M ay n ard ar ran ges the fe athe rs, retai ni ng th eir or ig in al colors an d sh ap es, an d use s a scal pe l to cut an d create h is com p osition s.
Er upti on 48” x 20” red-tailed b l a ck co ckato o ta i l feathers
O wl Flig ht S equence 1 4” x 1 7” ke a pa rro t w ing feathers
Wh a t Happens When You Turn a Fea ther U ps id e- Dow n 3 0” x 20” a rgus pheasant pr imar y wing feather
Croce Ir cl es 20” x 30” c rowned crane wing feathers
REBECCA SZETO T h es e works pl ay wi th noti ons of re -for m in g b eau ty an d valu e, of fer in g a cr itiq u e o n con s u m eris m , wome n’s work, and a cu r iou s entan g lem ent of d y n am ics involv in g t he e nviron m ental , soci a-pol iti cal , and ph ilosop h ical. I u se h u m b le, en d - of- life, m ass - prod uced m ateri al s i nspi re d by my exper ien ce as a fau x f in ish er an d love for ar t h isto r y. T h e p a intb ru sh i s se l f-refe re nti al , actin g as b oth su b ject an d ob ject. It refers to th e hi stor y o f p a inti ng , through the me di um of p aint, u sin g its ow n tool.
T h e s low a n d re petiti ve pace of whi ttlin g allows m e to ref lect m ore d irectly on th e i d io sy n cra s ies of e ach i ndi vi dual brush . Wor k in g intu itively, th e layered su r faces o f t he p aintb ru s h es be come col l aborators i n d ef in in g th eir u ltim ate for m an d v isu al tem pe ram ent wh ile s he ddi ng l i ght on the subtleties of th e h u m an con d ition .
T h es e works are an homage to an ofte n lost sen sib ility an d q u ality of tou ch an d th ought , n ot s im p ly th e supe rfi ci al l ook of Ol d M asters’ wor ks. T h e lad y- like p or traits are a pl ayf ul strateg y I use to i ntroduce the more in d elicate an d su btler asp ects of waste m an a gem ent a n d wo r ki ng wome n (unde re stim ated , u n n oticed , yet u ny ield in g ). Bu t, m ore p rofoundl y, they are a deep er look at th e n atu re of creativ ity. T h rough a s l i g ht m a n ip ul ati on of si mpl e mate ri als, n ever d isg u isin g its h istor y, I tran sfor m a c r ude o b ject into a de l i cate thought and action . I want to h ig h lig ht b oth th e ease in w hi c h s om eon e ca n se e wi th fre sh eye s and th e q u iet p ower of a regen erative an d su stain a bl e c ycle o f im a g i nati on.
Be rth e Mo risot 7 .5 ” x 3 . 5 ” x . 5” o i l o n ca r ve d br ush
S u zette L emai r e (B oss’s Da ug hter) 6 . 2 5” x 1.5” x .75” o i l on car ved br ush
Blo o d y M ar y Tudor 7 ” x 2 ” x .5” o i l o n ca r ved br ush
S an ae (Ge isha II) 6 ” x 1 . 5 ” x . 25” o i l o n ca r ve d br ush
A nge la I sad o r a Duncan 6 ” x 2 ” x . 5” o i l o n ca r ve d br ush
Re in a Maria n na ( of Austr i a) 6 .2 5” x 4 ” x . 5” o i l o n ca r ve d br ush
I nfanta Marie Ther ese III 6 .5 ” x 4 ” x . 5” o i l o n ca r ve d br ush