Ben Venom, ‘Wherever I May Roam’, hand-made quilt, bleached denim, leather, fabric, batting, thread
Venom’s work juxtaposes the soft tradition of quilting and the aggression of Heavy Metal. ‘Wherever I May Roam’ is inspired by the classic Metallic song.
“Word Play” is a conversational group exhibition featuring 7 conceptual artists handpicked by Contemporary Art Curator Stephanie Chefas. The exhibit showcases a collection of mixed media, acrylic, neon, and textile works by artists Ben Venom, Greg Lamarche, Gregory Siff, Meg Hitchcock, Meryl Pataky, Shawn Huckins, and RERO. Please enjoy samples of the work to be shown at Design Matters on June 29th.
Greg Lamarche, ‘Don’t Sleep’, hand cut paper collage on cardboard box
Lamarche’s work is inspired by the dynamism of his native NYC and its role as an incubator of the outlaw art of graffiti. ‘Don’t Sleep’ refers to a graffiti artist’s nocturnal existence.
Meg Hitchcock, ‘Christ Has No Body But Yours’, letters cut from the Koran.
Hitchcock’s work ‘cross pollinates’ the sacred writings of all spiritual traditions, suggesting that all religions derive from the same source, and are sustained in the same unwavering faith. This piece is inspired by the poem of the Christian Saint Teresa of Avila.
Meryl Pataky, ‘Untitled’, neon (argon gas and mercury)
Pataky’s work is a personal narrative inspired by people, experiences, and situations that shape her being. ‘Untitled’ explores the playful game of affection.
Shawn Huckins, ‘Young Girl with Dog and Bird: Sorry to Tell You, But Your Girlfriend Looks Like a Farm Animal’, acrylic on canvas
Huckins’ work explores 18th century American painting and portraiture in context of 21st century lexicons. ‘Young Girl with Dog and Bird’ is inspired by John Singleton Copley’s oil painting ‘Young Lady with Bird and Dog’.
RERO, ‘The Reason I Don’t Like Street Art is That it’s Not Aesthetic, It’s Social’, HPM silkscreen on handmade Kahdi paper
RERO’s work explores the concept of representation and negation. This is a direct quote from a review by Jonathan Jones in The Guardian in response to Bansky and street art in general.
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