January 3-29, 2010
opening reception
Sunday, January 3, 4-7pm
AS220 Main Gallery
Paintings & Drawings by Bill Killen
Wood Block Prints by Laura Shirreff
Open Window
New Drawings by Paul Holden
Youth Gallery
High Tech Design: New work BSS Youth & AS220 Labs
AS220 Project Space
TRASH: Groups Show with Lee Fearnside, Holly Hey, Scott Lapham, Caroline Kern, and Jo Dery
JELLYFISH: animations & paintings by Steven Subotnick
The AS220 starts the new year off with amazing animations, classical painting with a wry edge, innovative wood block prints, & lots of wonderful Trash.
The Youth Gallery continues with high tech meets art explorations of the Broad Street Studio featuring amazing work by Simcha Davis, Kafumba Bility, Benito Rios, and many more talented youth.
The Main Gallery feature Bill Killen's silve point drawings and oil paintings, rendered in the "Flemish Painting Style" takes classical imagery that is subverted by improbable and often sarcastic use of the "female form". Laura Shirreff literally uses her body to create prints that explore materiality & presence in a luminous and intimate manner.
In the Open Window, Paul Hogan exhibits drawings that render real and imagined places in pen and ink. Paul work invokes the fine line of the real and the dreamed in precise linear form.
In the Project Space is Trash, a group exhibit curated by Lee Fearnside featuring her photography of waste treatment plants work , two delightful animations Jo Dery, a video critique of disposable patriotic culture by Holly Hey, sculptural works from Scott Lapham's Perfectly Preserved Shorline series & Caroline Paquita's recylced, re-used works.
In the Side Room Steve Subotnicks exhibits drawings and prints from th emaking of his animation The Jelly Fishers. Amazing look glimpse into the process of animation.
JANUARY 27 5:30pm-7:30pm Jellyfish: An Evening of Animations by Steven Subotnick Steven's animated films are associative explorations of themes found in history, folklore, and his own unconscious; he treats each film as a poetic essay on a particular subject. His animations are alchemical - thought, motion, sound, art, narrative, and abstraction all combine to create a new substance. As a visual artist, he believes in the expressive power of materials - that technique and content are inseparable - that ideas only become real when they are tangible. His method is similar to documentary filmmaking in that he spends time intuitively creating images and animated scenes before he imposes a filmic structure. The film's final narrative grows organically out of the accumulated material through the process of editing and designing sound.
