The creative spirit continues to flourish at CORE gallery!
Enjoy these videos showcasing exhibitions since re-opening our doors to the public!
Join us in the gallery during regular business hours: Wednesday - Saturday 12-6
no admittance without a mask
four visitors at a time
Declarations of Love Tracy Simpson
What would our world be like if we voted for love all of the time? If we always voted for the candidates and measures we thought would best support our planet, all of our people, and ethical practices in the near-term and well into the future?
The monotype (meaning only one exists) prints in this show were inspired
by this idea. The two LOVE/VOTE pieces play with the fact that these words share three letters and thus fit together quite nicely.
The five Declaration pieces were printed from a series of embroideries I created based on the Declaration of Independence (with some strategic updates). My intention is to encourage us all to vote from our hearts to bring about the changes we need, but to recognize that if this fails, we may need a more radical and revolutionary solution, one presaged by our founders.
Finally, the three saturated color squares with random-looking lines would fold up into peace cranes if one were so inclined.
A Message from Time Claire Putney
This exhibition reflects the physical gravity and ephemeral qualities of Time as a transformational element. Remaining present through physical and emotional phases of stasis, chrysalis, and whirling motion is the essence of these works.
The impetus for this concept began with a small tangled up piece of string that has been hanging in my studio for months. It exudes buoyancy, movement, and the seemingly unpredictable pattern of chaos. This knot, a simple line moving actively through space, became the visual narrative through which I have layered various material processes.
Beyond their inherent function, knots have a rich symbolic history in family lineage, cultural affiliations, and social and political protest. As I continue investigating the language of knots, I am drawn to their physical embodiment of chaos, disruption, and movement as it is reflected through this work.
Special thanks to James Morin for his unyielding support through the creation of this show and in life, to Loren Herrera for his encouragement through the creative process and photographic vision, and to Ruthie V. for her critical feedback and hours spent working in the studio together.
Little Whispers Amanda Hood
Investigating the complex relationship between human beings and the natural world, my work explores the sublime in the contemporary landscape. Creating atmospheric and organic abstractions, paintings capture elements of light streaming through trees, fire and coastlines alongside subtle references to human interaction. Mysterious and encapsulating, nature holds a sense of raw power. As our environment changes rapidly, it is at once a place of stillness and renewal, destruction and terror. Capturing moments between explosive energy and the serene, paintings depict a process of regeneration, decomposition and transformation.
Incorporating organic materials such as charcoal; a byproduct of burning, or twigs and dried leaves as part of the painting process, I seek to capture the sense of expansion, energy and entropy found in nature. Paint is allowed to pool, drip or resist in unpredictable ways resulting in a process that requires response. Surfaces are scraped, compressed and layered. Imagery is frequently obliterated during the painting process. I am interested in the history and layering of these marks and indexical trace, and the ways in which this process mimics the progression of the landscape in the natural world.
Acts of Faith Sean Michael Hurley
The paintings and drawings gathered in this exhibition depict the artist’s fantastic and allegorical ruminations on the delicate and inextricable balance between hope and grief.
The works reference artists such as the Polish surrealist Bekskinski, Symbolists like Klimt , Von Stuck and Bocklin, and mid-late 20th century editorial illustration. The images suggest somber, subtle narratives of the potential drift toward enlightenment.
Hiding in Plain Sight Mylen Tumaliuan-Huggins
Inspired by color, texture, depth, and random or natural compositions, I am just as interested in the shapes of objects as the shapes or spaces between objects. The layered textures and subtle color variations of leaves on a tree, the sun's reflection on petals of a flower, the glow of seedlings as they push through the earth, the placement of a lily pad upon the water, reveal a story that I translate into a painting. I work in different mediums and use different techniques – encaustic, printmaking, oil, acrylic, ink, oil pastels – but the common denominator is nature.
Lockdown Paintings Roark T. Congdon
All the work in this exhibition was created between March 15 and June 29, 2020.
My belief is that tradition and innovation are not opposites.
My artistic training was in classical sculpture, bronze casting, and architecture. In 2013 I walked away from artmaking and began to focus on—and teach—digital fabrication.
The work here was created by first using a standard painting approach. The gestural/analog/multi-layered brushstrokes are an unabashed nod to many twentieth century painters. The lighter lines were then drawn using software called Rhinoceros, a 3D modeling program. The paintings were etched using a laser cutter that I built in my basement during quarantine, specifically for this process.
Unfortunately, dozens of paintings were incinerated and destroyed in the development of this process and the making of this exhibition. Some of the work you see is torn or burnt. Consider it Wabi-Sabi, an artifact of the process. The titles reflect the day they were “finished”.
Bound |Un| Bound
The dichotomy between farmed birds and those residing in nature is explored in an installation of new paintings and prints.
Oil on panel
Murmuration 2020 (detail)
Screenprint on tracing paper
The wall sculptures are informed by stick charts used by Pacific Islanders to teach tides, waves, and currents to ocean navigators. I also take interest in cave paintings, pictographs, hieroglyphs, and test patterns. They convey information and contain incidental abstract beauty. Until recently, most of my work was free-standing and vertical and read as two-dimensional graphics. Now, I have opted to negate the base and approximate the idea of the work floating in space by securing it to white walls. I like the contradiction of that and of realizing drawing as a physical object.
Antarctica Traffic Control, no 1, Steel