Contributed by Natasha Sweeten / You might consider the title of Colin Brant’s quietly inspiring exhibition “Mountains Like Rivers,” currently on view at Platform Project Space, an invitation to a world flipped on its end: what’s inherently solid becomes liquid, what’s up is now down. You would not be entirely wrong. Indeed, in Lake Louise/Poppies, the eponymous body of water mirrors the snowy, majestic range that anchors the painting. Red and yellow poppies in the foreground form a joyous tassel punctuating the band of blue, their stems waving like the arms of children eager to be called on.
Tag: Natasha Sweeten
Contributed by Natasha Sweeten / As children, we learn that nighttime is for hushed voices, unlit rooms, and the chance to briefly disappear into our dreams. In her latest show “Night” at Karma, Ann Craven fully embraces the enchantment of the wee hours. Her paintings, swathed in darkness, capture quiet moments, and the imagery could easily have been conjured from bedtime stories. Yet they’re not all warm and fuzzy.
Contributed by Natasha Sweeten / In Stephen Whisler’s solo show “Past is Prologue” at 325 Project Space, I seem to have stumbled onto an archeologist’s record of discovery, showcasing a vanished world. Three large black-and-white charcoal drawings are straightforward portraits isolating simple, mysterious organic structures. The two cast-iron sculptures strike me as rendering long-lost implements whole again. This work is imbued with a somber sense often associated with scientific research. Yet lurking within is a playfulness, and a tender, vulnerable unraveling.