Cathy Brilson, director of marketing and PR for Southwest School of
Art & Craft, invited me over for a rare peak at the
their newest exhibition "Over, Under, Around, and Through." Featuring
the works of Linda Hutchins, Tracy Krumm, and Piper Shepard. Each
artist shares a distinct appreciation of process, time, and space.
Krumm was on her knees, up to her elbows in clay — her
work features a suspended wire form covered by a layer of wet clay.
While I watched her mix various concoctions into the plastic container
that acted as a cauldron, Krumm stirred in (with her hands) tinted
metallic powders that released little crystallites (best viewed under
Krumm's four other wire sculpture pieces resembled each other
reoccuring theme with all three artists' work. Now I'm not saying that
the works weren't unique or well-executed, quite the opposite. Krumm
delves heavily into an industrial vibe. I noticed that four of her
works were suspended by S-hooks — such a simple hook, but a
ultimately pulled everything together and lived up to the show's name.
A majority of Krumm's works also gave the illusion that the pieces
were falling into the ground, coming up back to earth. Her dedication
to recycled art and the visual effect seeing art physically being
given back to the earth is really a sight to marvel.
Hutchins's works are simple. She used an old-school typewriter to type
a single word on scrolls. Completed in 2003, the works showcase her
unquestionable obsession with repetition.
In her work "Sorrow," six black boxes are propped upon each other to
create three steps with the final step containing an unraveled scroll
containing the word "sorrow" repeated. Hutchins drew inspiration for
this piece from her childhood — she was not allowed to wear
black as a
youth because, her mother explained to her, she wasn't old enough to.
By repeating "sorrow" on paper, she was questioning her mother: "Am I
old enough to type sorrow over and over?"
Piper Shepard's pieces are ultimately what draws patrons into the
gallery. Her hand-cut panels act as a frame leading viewers into the
space. The use of graphite, aluminum, muslin, and gesso on top of the
arduous task of cutting each knook and cranny within each piece adds
up to a splendid, nostalgic collection.
OVER, UNDER, AROUND, AND THROUGH
through Jan 13
Southwest School of Art & Craft