Admission is free and open to the public.
Reception: Thursday, July 19 | 3-4 PM
In Pigcasso, real and fictional space is explored in painting through processes of digital manipulation and sculptural landscapes. Environment, figure, and ground, become questions in how sensation and perception can change based on gesture, balance, and accumulation.
Hannah’s work focuses on experiences of desire and alienation in environments by working on small objects and paintings at the same time that then fold in to larger spaces and interactions. Painting, sculpture, and drawing become processes that resemble daily actions of labor and pleasure. The deli meat slicer in the grocery store cutting a slab of head cheese; treading water in a lake; marking trees; cutting the lawn; slicing carrots; watching a pear decay over time; walking to and from; filling a cup of water. These processes of repetition are reflected in fantastic structures that magnify the sometimes overwhelming architectural and natural spaces we are a part of. Making becomes a process of unexpected outcomes led by material interactions and associations.
Ethan’s practice centers itself in the question of what society can revere and what it can parody. His advocacy is that painting works as the unique medium in which, through its rich history, he can express and analyze these values. Art history becomes the tool box in which he can steal and distort ideas from when building new bodies of work or experimenting within new methods of building an image. Reflecting on our culture’s post-internet exposure fuels the desire to be more ubiquitous in selection of subject matter and content. In utilizing the poetic potential of humor and pop culture imagery, the work aims to be suspended in a state of flux between art and inanity. While the current work presented may present a face of degrading pieces of elitist culture, he aims to transcend cheaper imagery into a more exclusive state of existence.