Works on paper by Bryn Harding with guest artist Brandi Kruse
Gallery 114 presents the gallery's Bryn Harding and guest artist Brandi Kruse in a show of works on paper in various techniques and media. Their works suggest, in part, a kinship in the use of image and space, in what is depicted, and in what is just suggested by the voids of a partly empty page.
Bryn Harding's drawings in this exhibit are portraits in ink and nupastel on mulberry washi and drawings in metalpoint of structures produced by living things. These drawings were created as a response to experiencing relationships, COVID-19, the final year of the Trump presidency, and social turmoil during a lockdown. Among the latter he notes the abusive algorithms designed to maximize his engagement with and susceptibility to marketers.
The portraits show individuals in empty spaces making brief eye contact as they look up from their phones or computers. The individuals are alone, and everything else in the room, including objects obscuring portions of the subjects, is omitted. "However," he comments, "in each drawing there is still the illusion of unpictured space just beyond the edge of palpability."
Harding's metalpoints are life-sized drawings of organic debris, pinecones, molted crab shells, and other collected items against an expanse of blank paper. As they age, the silver and copper used to create the drawings will lose the appearance of graphite, tarnishing and oxidizing to sepia and green. One drawing of a cone captures it the middle of opening as it dries. Harding collected the cone from the base of the world's largest Sitka spruce, nearly 18 feet in diameter and 1000 years old.
Guest artist Brandi Kruse's photogravures on time, vulnerability, expectations and space explore the possibilities presented through absence. Together, the works read as a loose collection of visual poems--Kruse's attempts to wrestle connection back from a noisy void, to find a sense of place in alienation, to find balance and perspective, and perhaps most importantly, to find and value quiet. She describes periods of both growth and loss in her life that led her to reevaluate what is most important: "In absence there is room to long for what is missing, but there is never a moment when an absence fails to leave room for something else."
Kruse used the process of photogravure, copperplate etchings of photographs. "I love the meditative quality of this process," she says, "and it has not changed much since its development in the 1820s." She often has thought of the works as poems, stripped of all excess. "These prints are the poetry of an image stripped down and suspended in an environment of pure potential," says Kruse. She refers to the influence of Gilles Deleuze's theory of "the-anyplace-whatever"-- as when the cinematic moment is divorced from its narrative, becoming "free floating and full of pure possibility." There are suggestions in her work of absence, an emptiness or empty space open to the imagination which can either be filled or left blank.
Write something about yourself. No need to be fancy, just an overview.