December 10 to February 11, 2023
Opening Reception on December 10 (4pm to 8pm)
Cavernous Perspectives explores the full scope of humanity and what lies beneath. The works presented challenge the common representation of a collective consciousness that is overly binary or morally pat. The portraits of both Gregory Malphurs and Lin Fei Fei offer viewers the opportunity to reflect on the complexity of the human experience as a whole. Cecy Colichon’s conceptual abstraction and non-corporeal creations foster an associative atmosphere for the observer to ponder their own cavernous subconscious.
A mix of collage and painting in Malphurs’ emotionally charged and fragmented portraits use deconstruction to create a world that holds comfort around ambivalence and recognizes a universal bond of personal struggle. Lin’s ethereal portraits also live in the acceptance of darkness. As faces surface from an abyss into a clear forefront, from shadow to light, they bring facets of mankind deemed taboo to gleam.
This emerging movement takes on a multi-dimensional form in Colichon’s works, often a visual representation of music or sounds, and provides a vehicle for thought and transportation to other realms. The showcased pieces bring the intricacy of mortals to the palm of one’s hand as they journey the viewer from self to the unified ethos, then, with a new understanding, back to self.
The progress of my work is a sequence where groups of paintings or drawings comprise a puzzle piece to a larger concept. Early works use geometrical, planar and mechanical forms to express two or three dimensional volume relationships that appear to move in two directions at the same time. These flexible geometrical constructions endowed with the suggestion of movement, together with light and color, are essential in achieving an ethereal and mystical atmosphere implicating spirituality.
The desire to express a spiritual element in my work became imminent following a visit to my native Peru twelve years ago. I felt a strong metaphysical connection with the southern Pacific coast region where the ancient pre-Inka Nasca and Paracas civilizations existed. This visit inspired my series of oil paintings entitled Suenos (Dreams).
The imagery of Suenos is suggestive of landscape. Each panel describes a different chapter to a spiritual “tale”. Other paintings show a technology releasing energy associated with the intricate network of lines and dots in a pattern reminiscent of the Inka quipu. The quipu is a type of textile fashioned from an elaborate and ordered series of knots along myriad threads. It is possible the purpose of the quipu pattern formed by knots was a complex form of language or method for recording information, much like the digital language of the modern computer.
Although seemingly incompatible, I find a harmonious and intertwining relation between the fields of theoretical physics, biology and theology. The scientific method, in the strictest sense, involves the testing of finite ideas with measurable parameters, but I believe the creative process towards scientific discovery also involves a degree of intuition – an essential element in my creative process. The imagery contained in my artwork is not constructed by a sequence of premeditated ideas, rather by an intuited reception of information that began with my visit to Peru. This information, my works presented, and the roots of scientific disciplines have a common goal – to describe the world around and within us.
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