denoting the first, original, or typical form of something.
A lot of artists will show or otherwise talk about work in progress. I’ve been in that camp often myself. In that spirit, I’m posting this (?) journal as an exercise in fleshing out what a journal-istic element of my practice could be, beyond practicing long form on my blog. As I said in my last post, I’m shaping a vessel for things I’ve technically already been doing, just organized and approached with more intention. *This* one, at least, is a “sketch” (hopefully the first of many).
I’d be curious what my readers think about any part of the format, excepting regular recurrence- I’m planning for monthly and quite candidly, even the capacity needed for that cadence is daunting what with life always lifing… There’s a feedback form at the bottom of this prototype if you have some, please think WWMRD and don’t be an effn’ Troll. Or you know, if you see me out and about just grab me and let’s chat?
Contents
What I’ve Seen (IRL)
Going on in Durham, at the Truist Gallery (as always brought to you by Durham Art Guild) is Between The Margins, a new group exhibition. Big surprise (not), I felt drawn to this mixed media piece by Rebecca Fulmer.
Not gonna lie, I feel like fibers has been done enough over the last couple of years that we are entering a time when it goes from the cool thing to whatever the uncool, next stage of the cycle is. My own impulse towards painterly issues drew me to the piece above, and, Fulmer also surprised me with a foray into optics and light in the little nod to Robert Morris below. Yeah, I also think the purple shadow *is* the point of this work.
Also (not “if you can…”) make your way over to Craven Allen (also in Durham) to see Chieko Murasugi and Heather Gordon vigorously engage systems as strategy in Chance Encounter.
You should also get out on the City of Raleigh greenway (Walnut Creek trail, near the Walnut Creek Wetland Center on Peterson St) and see Air Crysalis by Patrizia Ferreira (the culmination of their SEEK grant).
Disclaimer (and I’ll probably repeat this each “issue”)- a) I can’t/don’t see everything, and b) the fact that I may not post about an exhibit or installation doesn’t mean the work didn’t take effort by all involved. There’s also a feedback form below and, assuming some of y’all use it, I’ll continue to provide a way to critique my critiques.
What I’ve Seen (OTI)
So much of the Art we encounter is seen on our devices, be it social media, press releases or (other) newsletters or periodicals. So, it feels appropriate to carve out a specific section for things I haven’t yet seen irl. Consider it my thanks offering to the great Al Gore Rhythm?
Jenny Eggleston made this print in partnership with Multiplied Projects. I’m flagging because good intentions and creative energy aside, the latter is taking a beat to physically relocate; we should all witness to the value of the artwork above and the challenge of sustaining this type of project.
Jerstin Crosby posted Dead Flowers (2025) on IG
Richard Tinkler drawing
Alexander Endrullat’s “Intaglio” prints are, in fact, actually a smushed laptop that they inked up and ran through a press (thanks Colossal).
Yeah, I dig this Barbara Takenaga, too (Peter Schroth at Two Coats has some words about her newest)
What I thought about for a minute after…
It’s a goal of this newsletter that, each month, something will catch my eye enough to write a bit more than some quick snaps- long form, even if short in format. This month, the exhibit that my mind has returned to most often is Isys Hennigar’s Sands of Seven Hills at Anchorlight.
I got the chance to see Isys in conversation with Hồng-An Trương in the Anchorlight space recently. I was glad to see a packed room, and also grateful for how gracious the artist and moderator were with their time and their thoughts. The work is so textually rich that the conversation sucked in a breathing number of topics. It is also notable that so many of us (apparently) show up at artist talks intending to have a speaker validate what we see in their practice. In all of these instances- where I felt any misgivings about whether the work might be trying to do too much- I also felt sincerity in the comments by Hennigar.
It’s been a minute since I got to witness the kind of respect from a mentor Truong showed to Hennigar. I know the former draws a lot of water in this town, and the import of the deference, while not “the point” in any way, for me landed as very relevant, given the way leadership is so often being modeled in this moment of history. I’ll also note that the camaraderie clearly related to shared interests or at least intentions. As a writer who (literally in the paragraphs above) gives my attention to creatives that share an interest in the media I center in my practice, I’m reminded what a unique place the Arts can be. I see communities within a larger community, where speech is valued and protected, as much as we can at least, and hopefully where the net effect of allowing ourselves to be exposed to some things outside our “go to” has the benefit of keeping our hearts and minds open.
But about the work itself… Although the works aren’t ostentatious, they have a certain maximalist bent-they are crammed full of different cultural references, but belong to none of them specifically, as a strategy to call our attention to how cultural concepts, mores and values are given physical shape.
I saw the piece above first, and circled back to it after seeing the rest of the show. Many of the objects do not declare whether they are found or made, which is Hennigar’s intent- to obfuscate, and not just to be clever or lord their facility with materials over us, which… good Lord can they make stuff. The work would probably fall flat though without the fussiness the Artist is able to muster, and they did note during the talk that the application and intent of high craft is often to give an object cultural significance and weight.
I struggled to believe my own eyes- the coral appeared to be finished (sealed, or painted?) to preserve it, or, was it created like so many things in the show? Was it curiosity from a beach rental, a mandala, a museum diorama? During the talk later, I thought back to this piece when Hennigar wondered out loud about the questions she asks in the work; what is made important, and how, and why. So many of us have picked up broken pieces of coral out of fascination and brought them out of the context of the natural world into the human realm of architecture. (I think) Hennigar would have us interrogate the cultural mechanics of such an action- not to invalidate our enjoyment of nature, but to ask we reason through why the removal of the natural from nature validates the object(s).
I’m only sharing one image because you should all just go see the show- there is still time. Hennigar is offering gallery hours, too, if you want to meet them and see the show (next Saturday, 4/11, from 1-5)
What I’ve written about
My most recent blog was a reflection on Development in which I teased that some thing was forthcoming- I was imagining this journal/newsletter when I wrote about a “vessel.” It’s certainly the first step, and “yes” I still intend to solicit other, professional publishers for my writing as well.
What they’ve written about
I really enjoyed re-reading Chris Dite’s take on the draw of Dune recently in light of the arrival of trailers for the third of Villeneuve’s efforts to visualize Frank Herbert’s world. Regular readers know I love a contradiction and Frank presents me with the feelings…
I’ve been enjoying Ravi Gupta’s Substack recently. I found some interesting perspective in his most recent post that is a reflection after watching Manosphere on ceding online platforms to the bro crowd. BTW I am also trying to figure out being on WordPress and Sub, and IG, in an efficient way. Open to suggestions…
Sharon Butler also recently reposted a 2010 discussion with the amazing Pat Steir (also and I didn’t know Steir worked with lighting which I found fascinating).
Please use the comments on this post to share what you’ve read!
What I’m looking forward to
Yes, I’m hoping some local venue or two will let me break something here, that sounds fun. TBD. Until then, I’ll use this last section of each newsletter to direct your attention more proactively.
First and foremost- I’m excited to be part of the Bara Bara Community Exhibition—featuring 80+ artists and 400 works supporting Diamante Arts and Cultural Center. Come experience this salon-style exhibition, and support local art!
Also looking forward to Cindy Morefield at DAG Goldenbelt
Y’all Means All is where you should be if you love beer, fuck Brogaloo
Heading to this year’s iteration of Artfields soon, yes you can expect me to report back (probably over on IG but here, too).
It’s not till May, but it’s almost time for Swamp Jam!
And Anchorlight Spring open house!
I’m also on the look out for what the next big project at Lump is!
And, that’s the general format and expected, typical content I have in mind.
BTW, the website *does* still look the same since I last wrote two weeks ago that it is now “under construction.” As someone who has worked in construction, I blame the designer of record…
Painting After Art is Dead 