A Look Inside ‘Ashes to Snow’ by Keisha Lambert
A Review of Artists Jason Craighead & Arden Bendler-Browning by Keisha Lambert
Tinney Contemporary is excited to share with you the works of Jason Craighead and Arden Bendler-Browning in the simultaneous shows ‘Invisible Audience’ and ‘Places to Be.’ Each of these painters hone expressive mark-making and have an energy that draws the viewer in. Their marks exude liveliness and emotions that cannot be contained by words alone. Inspiration ranges from their past reflections, internal experiences, and the technological world. Craighead’s body of work seems to envelope not only himself but also how he exists in the space around him. Whereas Bendier-Browning’s work is an interpretation of how she exists through the space and time and the memories that arise as a result.
‘Invisible Audience’ is the first body of work Craighead has produced since relocating to his Brooklyn-based studio. With this relocation from his long-time studio in North Carolina, Craighead began to question who it is that he creates for? The simple answer is himself. The more labyrinthine answer is the “Invisible Audience” that is humanity as a whole, present and future.
Once in front of Craighead’s work, the viewer is rewarded with a cacophony of naturally ambiguous mark-making laced within each piece. These marks are an account of Craighead allowing himself patience to let the work first speak to him and fuel his process. It is apparent in the intentionality behind his brushstrokes and the limitedness of his color palette. It is the act of listening, absorbing, and responding. These layered marks are full of energy and friction, fueled by emotion.
Craighead’s exclusively limited choice of words such as ‘apparition,’ ‘perception,’ and ‘mirror’ heighten the notions of self-discovery within his work. Woven within his pieces on canvas and paper are drips and splashes of clear medium that add more to the dimension and intention in his work. These marks carry through them the actions alone of the artist and add a ghostly appeal. The path of discovery is also apparent in the parcels of poetry and words from books he chooses to imbed inside his work. These pages are broken and torn to hint that the path is never-ending. The process is eternal and cyclical, living beyond our time.
Arden Bendler-Browning’s paintings of the series ‘Places to Be’ are a kaleidoscopic lens of modern life. Memories and landscapes are explored within her process by the use of Virtual Reality Painting. This is a cutting-edge capability inciting a broader range of exploration for artist Bendler-Browning. This technology allows the artist, along with the space around them, to be enveloped by the marks of their hands. Techniques of splashing and pouring seem to allow colors to float across the circular space of each painting. The continuity of each form, lets the viewer to be encompassed within the experience of her work.
This immersive quality references how our memories of moments evolve and are an ever-changing blur of images and emotions. The paintings, themselves, seem to take place at the synapse of memory within the brain involving time and place.
The range of qualities exhibited within her mark-making reference the growth of landscape painting. Journeying from the study of light from the Impressionists, to the boldness of the Expressionists, to a future place all her own intertwining the use of Modern Virtual Reality Painting.
The world moving before us and within us is hard to have a definite grasp on. At times, it can feel as if a sinking and sweltering swarm of emotions. A single moment or memory is fleeting even while we are experiencing it. Both ‘Invisible Audience,’ and ‘Places to Be,’ help to explore the psyche through a color or mark that showcases the interconnectedness of the human experience. How the places we have been define who we are little by little; and, how we ourselves get twisted and colored alongside of them. Be sure to experience these bodies of work for yourself available at Tinney Contemporary until April, 27, 2019.
Tinney Concept, our exclusively online exhibition platform, is pleased to present the works of Kristine Potter, Rachel Boillot, and Molly Peters. Each of these Artists in Photography explore notions of existence and emotions with a particular emphasis on rootedness, or ties to home. In a climate exacerbating differences and disparities, there is an intrinsic fiber that connects people. It is a matter of circumstance, completely out of one’s control. It is one of the most fundamental notions of humanity… this common chord is a sense of home. It can be investigated through physical sense, emotional ties, and metaphorically throughout history. It is especially revered in the American cultural mentality i.e. the ‘American Dream.’ Altogether these series hint at the fragility of human existence, and how the places we call home will carry on with or without us.
Rachel Boillot’s series “Moon Shine” explores the nearly untouched world of Appalachia within the Cumberland Plateau. Capturing the locale in a documentary-style lens, Boillot holds the ability to unassumingly capture the subject within their natural state. She brings to light the depth of rootedness embedded within their traditions. These traditions are varied from musical, cooking, to storytelling; but altogether soulful and prayer-like.
Within Boillot’s piece Cumberland Mountain, the billowing fog cascades across the mountainside and hints at the ethereal through its own topographical means. The mountains encompass the communities and seem to act as a towering time capsule to hold onto the old-fashioned in a fast-paced world. Boillot’s work elevates humble surroundings, objects, and people into a sacred realm of appreciation for the precariously sustained world of deep-rooted folklore.
With their peaks and valleys, and altogether harsh terrain, mountains have their own unforgiving way to isolate their dwellers. This isolation causes there to be much mysticism and storytelling wrapped around the sparsely populated landscape. This environment peaked the curiosity of photographer Kristine Potter. She chose to spend three years between 2013-2015 investigating the myth of the ‘American Cowboy’. Within this span of time, she began to debunk aspects of the longstanding air of masculinity that surrounds the ‘American Cowboy’ standard.
Upon viewing her series “Manifest,” the ‘cowboys’ are portrayed in a more delicate lens, showcasing the vulnerability of the human body amidst the harshest of environments. Potter artfully creates compositions through capturing her subjects intertwined within the landscape. This imagery eludes to the wary balance of the human condition within the grasps of Mother Nature. It also provokes a sense of mortality; and strips down the individuals to their basic needs of existence. In viewing her work, one begins to ask his or herself: If stripped away from today’s distractions and luxuries, what would I deem most vital to my existence?
Remote Islands are another topographical element that causes their dwellers to live at a tempo of their own accord. Molly Peters returned to the remote island of her adolescence after a large span of time away. Peters experienced a unique chord of existentialism returning to this familiar, yet different place. Simultaneously at her seven month return to home, Peters witnesses a close friend undergo a spiritual metamorphosis of dying and being reborn. This cyclical journey is catalogued throughout her series ‘Anima,’ Italian for soul. Peters’ ‘Anima’ is an allegory of life, death, and home being the final commonality amongst mankind.
The vast range exhibited between the works featured in Tinney Concept’s ‘Women in Photography’ causes a myriad of viewers to experience nostalgia and reflect about their own history and experiences of home. Instead of being resolute in disparities, remember the commonalities exhibited throughout mankind. To be rooted in one’s own identity and journey, as opposed to exhibiting the restlessness of the status quo.
Written By: Keisha Lambert
A Look Inside Carla Ciuffo’s ‘Portals’ by Keisha Lambert
Carla Ciuffo’s latest show entitled “Portals: Immersive Contemporary Art” propels gallery-viewing into the 21st Century. Ciuffo has always been fascinated with the enigma of being human. In the modern age, to be human, is also to be intertwined with technology and media. Recently, electronic devices, such as phones, have begun to receive an unsavory perception regarding in-gallery use. Carla has partnered with the Artivive App and has regained control of the relationship between the gallery and technology. She pushes it further by encouraging the viewer to interact with her work using smart phones.
Carla Ciuffo has been a photographic artist for nearly fifteen years. In this span of time, she has received numerous awards for her work that broadly ranges from non-narrative animated shorts, Nano-fiber work with Harvard University’s Applied Physics and Bioengineering group, to manipulation with augmented reality. Ciuffo uses this culmination of experience to make installation pieces that are not what initially meets the eye. Upon experiencing “Portals: Immersive Contemporary Art,” the viewer is pulled into Ciuffo’s envisioned dimension as if windows to a new world.
‘Portals’ rejects the traditional, static nature of photographs; and are full of life, energy, and motion. Carla Ciuffo’s work pushes the boundaries of what gallery viewing should be. The portals, themselves, have a hypnotic and transient quality about them. There is a cyclical balance between the promise of new life and seemingly inevitable destruction within Human-Environmental Interactions. It seems to showcase the victories and the woes of technological advancements through the portal with the viewer’s own lens. To experience this show and engage in this series, visit Tinney Contemporary Gallery until March 9th 2019.
It is a great compliment when a leading global travel agency features us as a must see gallery in Nashville. In a recent blog post called: “72 Hours to Get Lost in Music, Culture, Food and Drinks in Nashville” the travel agency Flight Network mentioned Tinney Contemporary. This is what they said about our gallery in their blog post:
“We promised more than music, and also a look into the great culture and art scene in Nashville, and the best place to truly experience that is at Tinney Contemporary. There has been an artistic renaissance over the last decade in downtown Nashville, and this gallery is a testimony to that. On Fifth Avenue, this chic gallery space shares work from local and international talents, and the very best from both established and emerging contemporary artists. So whether you like photography, paintings, drawings or something else, you’ll thoroughly enjoy a visit to Tinney Contemporary Gallery. You will quickly realize that Nashville is a city packed with spectacular talents!”
Thank you, Flight Network, for these kind words, we are so proud to be a part of the Nashville art scene.