Friday June 14, 2019
Santa Fe, NM 87501
Phone: (505) 986-9800
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Works by Nina Tichava and Shawn Smith, exploring the intersections of culture, technology and environment through their art practice.
Turner Carroll Gallery is pleased to announce Glitched, an exhibition of artworks by California College of the Arts alumni Nina Tichava and Shawn Smith. While Tichava and Smith vary vastly in their medium and creative process, they both explore the intersections of culture, technology, and environment through their art practice.
A process-driven artist, Tichava painstakingly hand-produces effects and patterns that at first glance look as though they may have been produced by a computer or industrial machine, but upon closer inspection reveal the depth, nuance, and humanity of the artist’s hand. Her mixed media pieces are deeply layered and complex. In her piece titled “You broke the ocean in half to be here” Tichava, inspired by traditional print-making processes, began with washes of pure cyan, magenta, yellow, and black inks, allowing them to blend together directly on the panel in a conversation between the technical and gestural, resulting in a rich tapestry of secondary and tertiary organic forms. The influence of her New Mexico upbringing in a family of weavers is evident in the overt textile-like layering of thin slices of paper. Woven textures and washes are eventually obscured further by a field of opaque white paint that at once defines geometric forms and the space the forms occupy. And finally, thousands of beads of paint are set into ordered grids that disintegrate as they grow outward. These multi-faceted layers of warp and weft, the rich amalgam of hybrid color, and the deconstructed grids in Tichava’s intricate works allude to the technical malfunctions or glitches in lines of code that can cause visual disruptions to appear in digital images.
Growing up in a large city where his experience of the natural world was mostly limited to the digital environment of computer and TV screens, Shawn Smith translates his interpretation of the natural world into three-dimensional sculptures. Isolating the subject from the frame and distilling its color palette down to the minimum—just enough information to be identifiable—he builds three-dimensional representation pixel by pixel with hand-cut, hand-dyed strips of wood. His process is intentionally laborious to contrast with the modern culture of rapidly consuming online images, and also punctuates how important each pixel is in forming the identity of an object or being. The pieces in Glitched undergo further manipulations, as in the forced distorted perspective of Stretch and Squish where Smith has recreated, in three-dimensional form, the visual effect of “stretching” or “squishing” the aspect ratio of a digital photograph.