Curatorial Connections
Joan Snitzer’s use of color softens her strong portrayal of architecture and geometry. Snitzer's paintings combine abstract geometries that look at gentrification, while Crossett's art layers changes in the urban environment and considers gentrification and altered spaces.
Pam’s expansive structures fill a contained space, and Monica's work portrays substantive environments. They create architectural worlds onto their own – whether from observation or the power of gesture. Cassidy Garbutt explores the boundaries between photography and painting, producing organic planes. Her limitless compositions prioritize texture, like Pam's.
Zofie King's sculptures remind us that home (and architecture) are precious, transportable spaces. She considers miniature spaces, whereas Stroik's grid series uses pristine spaces with an outward effect.
We added King's and Pierre Davis' wooden sculptures because they form strict spaces that touch on nostalgia and making-do when your family emigrates. True to their material choices, they include only what is necessary.
Davis and Stroik incorporate magical realism, but in entirely different ways. Both artists remember nature, essential materials and structures.
Yar Koporulin’s work literally reaches through the picture plane with the essential optical colors – white, black, and red. His use of color shows broiling human interactions in a building. Wanna manipulates negative space with magnetic forces, blurring the viewer's comprehension of what is actually happening.
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Michael Crossett’s screen prints of the urban environment place Home as something central as well as multiple, which we think goes well with Snitzer’s works, set with image overlays, geometric city blocks, and abstract passages. Crosett's newer use incorporating objects, such as lasercut wood and concrete, are very physical choices that are almost like keepsakes of a place, which is a highlight of King's work.
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Cassidy's I Dwell in Possibility is layered and delicate structures on a 2D plane, while Wanna's installation embodies structure and tension treated in a delicate way.
Wanna's and Stroik's mutual use of precision, demonstrates their broad architectural considerations. Music lives in the background of their work, even when not an auditory part of it.