Simone Subal Gallery

  • B. Ingrid Olson, Drawing with light, 2013, Archival pigment print, 10 x 14 inches, Edition of 2 + 1 AP
  • (left) Lea Cetera, Angle of Repose, 2013, HD video projection on installation: blue stone gravel, chicken wire, fake rock, steel, aluminum, brass, copper, slate, dried papaya, reflection hologram, IPod touch, pico projector, Dimensions variable
  • Derek Franklin, Pressa, 2013, Wood, steel, foam, resin, inkjet, paint 172 x 64 x 92 inches
  • Derek Franklin, Pressa, 2013, Wood, steel, foam, resin, inkjet, paint 172 x 64 x 92 inches
  • Derek Franklin, Pressa, 2013, Wood, steel, foam, resin, inkjet, paint 172 x 64 x 92 inches
  • (left) Lea Cetera, Angle of Repose, 2013, HD video projection on installation: blue stone gravel, chicken wire, fake rock, steel, aluminum, brass, copper, slate, dried papaya, reflection hologram, IPod touch, pico projector, Dimensions variable, (right) B. Ingrid Olsen
  • Lea Cetera, Angle of Repose, 2013, HD video projection on installation: blue stone gravel, chicken wire, fake rock, steel, aluminum, brass, copper, slate, dried papaya, reflection hologram, IPod touch, pico projector, Dimensions variable
  • (detail) Lea Cetera, Angle of Repose, 2013, HD video projection on installation: blue stone gravel, chicken wire, fake rock, steel, aluminum, brass, copper, slate, dried papaya, reflection hologram, IPod touch, pico projector, Dimensions variable
  • (detail) Lea Cetera, Angle of Repose, 2013, HD video projection on installation: blue stone gravel, chicken wire, fake rock, steel, aluminum, brass, copper, slate, dried papaya, reflection hologram, IPod touch, pico projector, Dimensions variable
  • B. Ingrid Olson, from left to right: That Fucking Pink Lady, 2013; Distance Portrait and Figure with Flowers, 2013; Drawing with Features, 2013.
  • B. Ingrid Olson
  • B. Ingrid Olson, Head over hand, From Behind and dark drawing, 2013, Four photographs and one drawing on metallic paper in plexiglass frame, 22 x 16 1/2 inches
  • B. Ingrid Olson, That Fucking Pink Lady, 2013, Archival pigment print, 15 x 22 inches, Edition of 2 + 1 AP
  • B. Ingrid Olson, Distance Portrait and Figure with Flowers, 2013, Three photographs, lithographic print and two transparencies in Plexiglass frame, 22 x 16 1/2 inches
  • B. Ingrid Olson, Drawing with features, 2012, Archival pigment print, 14 x 10 inches, Edition of 2 + 1 AP
  • Derek Franklin, Pressa, 2013, Wood, steel, foam, resin, inkjet, paint 172 x 64 x 92 inches
  • Derek Franklin, Pressa, 2013, Wood, steel, foam, resin, inkjet, paint 172 x 64 x 92 inches
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We seem to still be moving

July 9 – August 2, 2013

Simone Subal Gallery is very pleased to present We seem to still be moving, featuring the work of Lea Cetera, Derek Franklin, and B. Ingrid Olson. This exhibition was co-curated by Rachel LaBine and Simone Subal. It will run through August 2, 2013, and there will be an opening reception held Tuesday, July 9, from 6-8pm.

The diverse work on view examines construction and mobility as implied, yet fundamental requirements within the formation of narrative. Through a blurring of presentation with representation, these works question the perceived stability in the meanings attached to objects and images.

Lea Cetera assembles fabricated and found objects with disparate uses, connotations and connections. The separate parts attempt not to make a ‘whole’ or singular declaration, but evoke various possibilities for narrative amongst themselves. This sense of story is both emphasized and withheld from definition by video that is imposed over the sculptural elements of the piece. Cetera and others are shown moving about the same space in which the video is projected, causing a temporal shift to occur between documentation and firsthand experience. By presenting objects as varied as a fake boulder, a hologram, and a gravel-filled wire figure, Cetera covertly alludes to the inherent elasticity within the act of storytelling. Seemingly incompatible interests and values become related, their selection guided by a fascination with the emotional potency able to be carried by objects.

Derek Franklin creates installations of foam sculptures, fragmented stage sets, photographs and paintings. In these arrangements the spatial and pictoral relations between the objects are emphasized, rather than their presentation as discrete works. A prevalent concern in much of Franklin’s work is the notion of translation between object, image, and document, and the replacement of older meanings through these translations, whether by chance or intentional presentation in a new context. Drawing from photographic documentation of sculpture that is scanned and distorted, he quickly creates three-dimensional “sketches” out of foam. The surfaces of these forms display varying degrees of finish, and are placed on the floor or incorporated loosely into the architectural pieces. This pointedly unfinished presentation speaks to Franklin’s concern with temporariness and instability, both figuratively and physically.

The photographic image becomes a malleable screen between maker and viewer in the layered photo-based work of B. Ingrid Olson. Undefined spaces, gestures, line drawings, fragments of images and obscured figures are condensed in images that are often both descriptive and indeterminate at once: Olson, often pictured, shifts between a seen subject and a viewer herself. Intimate realities and exposed fantasies routinely coexist in unexpected ways. Her works document a kinetic, performative exploration of placing the self amongst representations and visual influences.