Evolution

Tribute 1 continues to hang at Irvine Contemporary for a few more days, so I hope that if you are in the Washington D.C. area that you will pay the exhibit a visit.  The three new plates (24″) that I prepared for this final exhibition at Irvine’s 14th street location have been shown in detail on this blog under the titles Ultimate Illusion, Harbinger, and Das Narrenschiff, but above you see them as they are installed at the gallery.  It is not common to have installation views of my work mainly because of the problems caused with high gloss of the varnish that I apply to the plate (and mixed light sources).  Even in this image which I have chosen to share with you, artwork from across the gallery is clearly reflected on the surface of the plates at the left and right.  Even so, I wanted to share this image because it shows the very first time I have publicly displayed plates without frames, and I must say that I am pretty excited about the results.

     Over the course of the past three years since My Baghdad was first shown at Irvine Contemporary I have attempted, with the close assistance of master framer and artist Laura Garrett, to develop display solutions that are an integrated part of what the plate is.  This has resulted in a rage of three distinct presentation methods used in each of my solo exhibitions at Irvine.  Each exhibition brought about plate presentations employing a more simplified visual strategy, continually moving away from the heavier elements originally found in the My Baghdad presentation of 2008.  The continual reduction of display elements and the large 24″ plate size for this project  has resulted in what is shown above, the fourth presentation method.  Although the method used for the work shown at Tribute 1 would not be effective for the smaller formats that I commonly work in, such as the 5×7″ plates of Flow (currently on view at the RMSP Gallery in Missoula Montana), it really is nice with the larger glass.

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~ by Phil Nesmith on July 1, 2011.

 
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