Whereabouts Unknown

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Felandus Thames
Opening: Feb 11, 5-8 pm
Through Feb 22, 2016

From the arresting to the poetic, Felandus Thames fills the gallery with texts that are both witty and deeply personal. Seton Gallery is transformed into a pale green huge, referencing a prison cell and serving as a canvas to comment and reflect on America’s troubled justice system. In a nation where 1 in 3 black men are reported to spend time, and profiling America’s youth has become common practice, Thames speaks to subjects that have been rendered invisible.
In the studio, Thames recounts different moments in his Mississippi youth when persons were wrongfully accused and imprisoned for crimes that they didn’t commit. Recalling exact moments when he heard the news, and shared conversations before his beloved were sent away, these narratives enter Thames’s work in subtle ways. For many of us, our concept of family changes over time.

I have at one time or another been in love with my mother,
1 grandmother, 2 sisters, 2 aunts (1 went to the asylum),
and 5 cousins. I am now in love with a 7-yr-old niece
(she sends me letters in large block print, and
her picture is the only one that smiles at me).

… My father’s mother, who is 93
and who keeps the Family Bible with everybody’s birth dates
(and death dates) in it, always mentions him. There is no
place in her Bible for “whereabouts unknown.”

-Etheridge Knight, excerpts from the poem, “The Idea Of Ancestry.”

Just as Thames’s solo exhibition title is drawn from Etheridge’s exploration of ancestral feelings, his barrette pieces smile back at viewers with admiration. Another nuanced installation that explores his personal history combines ball jars, photocopies of next of kin, and hair relaxer. Thames’s materials investigate the relationship between the domestic and the processed. The relaxer, whose chemistry transforms into a gelatinous substrate, obscures dipped photocopies of posed subjects. It’s as if these encapsulated moments have congealed, and there’s no point of return. Locally sourced barrettes and hairbrushes are also present in Thames’s work, and images of pop icons emerge from wood panels. His text pieces, formed by removing bristles, explore feelings of detachment with humor and sarcasm. As the exhibition title suggests, the concept of being rendered invisible through circumstances is at the core of Thames’s work.

Felandus Thames is an interdisciplinary maker living and practicing in the greater New York area. Born in Mississippi, Thames was also the recipient of the 2005 Mississippi Individual Artist Fellowship, which is awarded to one artist per discipline annually. Subsequently, he attended the Painting and Printmaking Program at Yale University School of Art, where he received his MFA in 2010. He has been included in exhibitions at the Tilton Gallery, Masur Museum, Charles H. Wright Museum, National Civil Rights Museum, Mississippi Museum of Art, Columbia University, Aspen Museum of Art, and Miami Basel. Thames was recently a Louis Comfort Tiffany Prize Nominee. He has been mentioned in numerous periodicals including the New York Times, International Review of African American Art, and Art in America. Thames’ work can be found in myriad of private and public collections both in the United States and abroad.

Laura Marsh
Director, Seton Gallery
University of New Haven
300 Boston Post Road
New Haven, CT 06516
203.931.6068
Hours: M-F 11-4
Sat upon request

 

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Conversation II

NoPOP

Dec. 12, 2015 through Feb. 28, 2016

Join us on Dec. 12th from 7-9 p.m. at No Pop as mixed media artists and patrons mingle and investigate art practice and saleability. We aim to sell affordable work between $30-$1000. This month’s topic has two primary aims; to contextualize the scope of each artists’ work and to sell art that relates to artist ethics.  

Buying art is an investment into a studio practice. We encourage first time as well as seasoned collectors to join us in this dialogue. Openings are an immersive experience and we will feature performances and installations by John O’Donnell, Laura Marsh, and Phil Lique. Aaron McElroy’s photograph will Illuminate our Lightbox and we have a stock of books by Aaron as well as Aude Jomini. New Haven has enormous potential to grow culturally; you help make it happen.

No Pop fosters the arching relationship between artist and patron, and we reassert value of the artists work in intellectual and monetary terms. The studio will proudly display a stock of works for sale; our aim is to sell books, sketches, prints, photographs, small models, and sculptures, etc. that can inform viewers and establish relationships.

No Pop is an art studio concentrating on the value of daily practice. We’ve begun accepting submissions for our street level exhibition opportunity, henceforth known as [Lightbox]:www.nopopgallery/submissions

As artists, Laura Marsh and Phil Lique inform the community about creative needs by integrating the boundaries between exhibiting, living, producing, and teaching. Our philosophy embraces interdisciplinary artists who reference popular culture and provide social commentary. Much like our Pop ancestors, the studio provides the climate for production and collaboration. Also influenced by the Fluxus, we believe in the daily
performance of making and experimenting. We’ve merged our Yale-New Haven roots to form an intersection that’s picking up traction to steadily overcome class and social boundaries.

Participating Artists:
Eóin Burke
Tracie Cheng
Daniel Eugene
Camille Hoffman
Noé Jimenez
Aude Jomini
Phil Lique
Laura Marsh
Aaron McElroy
John O’Donnell
Ronnie Rysz
Edgar Serrano
Jon Stone
Felandus Thames
Anahita Vossoughi
Mark Williams

Guest Chef:
Elise Dunphe (The Elusive Goat)

130 Park Street, 2 FL
New Haven, CT, 06511

Transforming Hate

GuillenCoolingTable

Miguel Gullien, The Cooling Table

Join Us: Dec. 3rd, from 6-8 p.m. at Seton Gallery
Followed by the opening night of Crisis in Bucknall Theater

Curated By Katie Knight
In Conversation with Director, Laura Marsh

Explore creative ways to engage in conversations about race in the U.S. The exhibition represents 39 artists of various nationalities and races, which focuses on the process of community building and social recovery. Issues of police brutality, targeted acts of violence, and 16-years of school shootings are at the forefront of U.S. consciousness. Speaking Volumes extends a hand to artists, asking them to intervene and react to white supremacist books. Some deconstruct by omitting or adding to the texts, others transform the books into delicate forms. Each artist seems to be asking, as a nation, how can we promote diversity and positive change in response to the recent-past? Speaking Volumes is a seven-year traveling exhibition; it continues to become more relevant as it travels to us from Iowa, and we will welcome it before it departs in February for NY.
As a University of New Haven Cultural Center, Seton Gallery, extends her arms to promote positive change. I encourage you to respond to and be in dialogue with the past by accepting others in the present.

The story of Speaking Volumes began in 2003 when the Montana Human Rights Network in Helena, Montana, acquired more than 4,000 copies of white supremacist books from a defecting leader of one of the most virulent hate groups in the nation. The Human Rights Network, through a partnership with the Holter Museum of Art in Helena, implemented its vision of transforming the books into works of art with a positive message. Katie Knight, the Curator of education at the Holter Museum, used her twenty-five years of experience in social justice, art, and education to guide the community partnership as they developed Speaking Volumes: Transforming Hate. As ongoing curator and manager of the exhibition, she continues to provide logistical and programming support to all museums and galleries that host the exhibition.

Participating artists:

Neal Ambrose-Smith
Dana Boussard
Ariana Boussard-Reifel
John Buck
Nick Cave
Kristin Casaletto
Enrique Chagoya
Lei Curtis
Jack Davis
Jane Waggoner Deschner
Stephen Glueckert
Jean Grosser
Miguel Guillen
Charles Gute
Valerie Hellerman
Time Holmes
Marilyn Humphries
Lisa Jarret
David Kamm
Maria Karametou
Lucinda Luvaas
Billie Lynn
Robbie McClaran
Marc Morris
Shelly Murney
Ryan Sara Murphy
Richard Notkin
Ellen Ornitz
Faith Ringgold
Jim Riswold
Barbara Romain
Scott Schuldt
Clarissa Sligh
Tim Speyer
Sara Steele
Jaune Quick-to-See Smith
Cathy Weber Valetta

No Pop: Conversation I

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Opening: Fri Oct. 16th, 6-9 p.m.
Curator Tour with Olu Oguibe: Sat 17th, 1-2 p.m.
Studio Days: Sat 17th & Sun 18th, 12-6 p.m.

Immersive sculpture and installation challenges our everyday spatial perceptions.  Artists Aude Jomini, Phil Lique, Laura Marsh, and Michael Queenland explore the relationships between wall, floor, and ceiling by protruding, expanding, and suspending forms.  Walking up the stairs through Jomini’s, Ceiling Meadow, viewers are engulfed by a volumetric series of
flag-like cutouts.  Phil Lique’s, X-MF Jesus MF-X Series, combines a variety of religious and popular culture references in installations that expand off the wall.  Laura Marsh’s, Femme Irrésistible,  is an participatory installation that explores complex female roles and fragmented sentences in multiple languages.  Michael Queenland’s, Rudy’s Ramp of Remainders, is an ongoing work that explores the complexities of physical, social and psychic remnants and surplus, through loosely grouped offcuts and alterations of everyday goods and hand cast sculptural forms. Together, these works explore themes of gender, intervention, and the manufactured vs. handmade.  No Pop is an art studio concentrating on the value of daily practice.  Much like our Pop ancestors, the studio provides the climate for production and collaboration. We provide a bridge between artists who are in dialogue with Yale and New Haven’s many communities.

About the Artists:

Aude Jomini was born in 1979 and lives and works in New Haven, CT. She holds a B.F.A. from RISD and and she holds a B.F.A. from RISD and a M.Arch. from Yale School of Architecture;  she currently lives and works in New Haven, CT. Before moving to New Haven to pursue architecture more fully, Jomini worked in New York until 2006 as a designer and artist, with various stints including working for Scholastic, Printed Matter, Inc., and the Brooklyn Museum.  Aude likes to flatten things that are 3D, and flesh out things that are dead flat.  She is a French speaker, who learned all of her English from Beavis and Butthead, and who remains somewhat affected by moving directly from Switzerland to Florida in 1993.  She has shown work in several group exhibitions in Providence, RI, New York, NY and New Haven CT.

Philip Lique was born in 1983.  He received his M.F.A. from Western Connecticut State University, CT, and his B.F.A. from Paier College of Art, CT. Lique has attended several residencies including Zona Imaginaria in Buenos Aires, Argentina, and Vermont Studio Center in Johnson, VT. Lique has exhibited at established venues including the DeCordova Museum and Sculpture Park, MA; Giampietro Gallery, CT; Hans Wiess Newspace Gallery, Manchester Community College, CT; Artspace, New Haven, CT;  and Blue Mountain Gallery, NY.  He currently works as a Shop Technician at Yale University and teaches at Southern Connecticut State University, University of New Haven, and Gateway Community College.

Laura Marsh was born in 1982.  She received her M.F.A. from Yale University School of Art, CT, in 2009 and her B.F.A. from the Cleveland Institute of Art, OH, in 2006.  Marsh has participated in several residencies including Zona Imaginaria in Buenos Aires, Argentina, Vermont Studio Center in Johnson, VT, and Tilton Residency in Beijing, China.  She has exhibited at the Art Lot in Brooklyn, NY; Giampietro Gallery, CT; Real Art Ways in Hartford, CT;  Newman Popiashvili Gallery in New York, NY; Marc Jancou Contemporary in New York, NY;  and the Cleveland Foundation in Cleveland, OH.  Marsh is currently the Director of Seton Art Gallery and Lecturer at the University of New Haven in West Haven, CT.

Michael Queenland was born in 1970. He earned Bachelor’s of Arts and Master’s of Fine Arts degrees from the University of California, Los Angeles. Queenland’s work has been shown in such distinguished venues as The Santa Monica Museum of Art, Los Angeles; The Studio Museum in Harlem, New York; Whitney Museum of American Art, New York; Institute of Contemporary Art at Maine College of Art, Portland; Midway Contemporary Art, Minneapolis; and Massachusetts College of Art, Boston. His work is included in the permanent collection of The Studio Museum in Harlem, and is currently on view in the group exhibition titled, Assisted, curated by artist Jessica Stockholder, at the Kavi Gupta Gallery, Chicago. Queenland is the assistant professor of sculpture at Yale University Graduate School of Art.oct16

 

 

In Conversation

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In Conversation seeks to create rich dialogues between University of New Haven faculty and their artist peers, living in Connecticut, New York, and Oregon.  I asked each participating University of New Haven Art & Design colleague to recommend another artist/designer who they are currently in conversation with, and as a result, seven intriguing artist parings have taken shape.  The show focuses on the parallels between art and design language and encourages collaboration between faculty and their communities.  Recent artworks from various solo and group exhibitions in CT, NY, Bristol, England, and Prato, Italy, are represented.  In this group show, a variety of visual themes have emerged: colony collapse disorder, bodily abstraction, man vs. nature, individual and group identities, and shifting cultural perspectives.

Phil Lique and Ronnie Rysz explore popular subjects with underlying grotesque content.  Phil Lique’s installation references the symbol of Christ on the cross, self-portraiture, and comic book style drawing.  His work morphs and changes direction to suggest that finding fixed meaning is impossible in a society inundated with information.  Ronnie Rysz’s glamorously bold portraits depict figures in a state of suspended ecstasy.  Some of the subjects stare blankly back at us with open mouths, while others exhibit a side glance or submit themselves.  One detects a sardonic commentary about the role of consumer objects, marketing, and shiny surfaces in our everyday lives.  Perhaps we live in a moment of self-obsession and narcissism?

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Jeff Ostergen and Christopher Michlig explore vibrant colors in worlds all their own. Ostergren combines food groups and pharmaceuticals with paint and resin to comment on how consumer marketing influences our personal feelings about our bodies.  Michlig’s Processed Worlds series explores fragmentary elements juxtaposed over sunset gradients.  The lone figure in Exploding Cathedral is riding away from the action, reminiscent of Danny’s tricycle rides down to long hallway in Stanley Kubrick’s, the Shining.   In dialogue, these works discuss societal constructs and the struggle to form individual identities.

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Joe Smolinski and Jeff Slomba explore the effects of mankind over nature.  In Colony Collapse, 2014-2015,  Joe Smolinski associates recent bee hive deaths to excessive fossil fuel consumption, monoculture farming, militarism, and nuclear warfare. Utilizing an audio score by Andy Flynn, which is mixed and co-produced by Ben Durrant, the low ambient sound gradually builds into a dense cacophonous soundscape.  The lone bee is symbolic of the complicated and damaging effect of mankind’s impact on the environment.  The 8 minute animation is from his solo show, Second Nature, at Mixed Greens this past spring.

Jeff Slomba’s Oocyst, 2015, presents up-close moments of intrigue. Once one looks into the oculi, architectural worlds emerge.  His combination of traditional plaster with cutting edge 3D printing, exceed our sculptural expectations.  The forms are based on Notre Dame Cathedral, Paris, France, among other architectural references.  Slomba’s play with scale renders the acorn form as many times larger than life.  The oculi reveal intricate and minuscule worlds, suggesting that nature is more sophisticated than we give it credit.  Smolinski and Slomba suggest that viewers take some time to reflect on our complex relationship with nature.

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Cecilia Mandrile and Claudia Demonte’s installation explores the relationship between a former student and instructor, who are now artist colleagues and collaborators.  Madrile’s hand sewn and ink jet printed dolls appear ghost like and enigmatic; some are paired in clusters. Demonte’s paper mache, painted figures exhibit colorful and patterned costumes reminiscent of various cultural attire.  The dolls face each other, seemingly in dialogue.

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Aude Jomini and Laura Marsh explore figurative costumery, and digital and handmade qualities in their large-scale installation.  The imagery is derived from a limited edition zine, called Body Duel.  The imagery is taken from a photo shoot in Marsh’s studio, combined with Jomini’s explorations in multiple layers of printing and image splicing, along with details of textiles.  The work references the female body as a site for dueling, role-playing, organized movement, and a mock war-game.

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Reno Migani and Chris Passehl investigate human engagement with nature.  The work is participatory as viewers are invited to take a load off in Migani’s layered work, which references club chairs from the 1920s.  Passehl’s gridded photograph includes a nature shot that vertically blurs within the next two frames. Sitting in the chair, looking up, one feels a sense of reverence for nature as the layered wood supports our spines.

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Tim Nikiforuk and Mark Williams’s works glow with neon paint. Williams’s painting reveals a horse and buggy era obscured by paint splatters.  Nikiforuk’s cake segments are seductive yet grotesque, drawing us in with layers of glistening paint squeezed out of cake bags.  Both artists explore the relationship between surface and underlying meaning.  It’s as if Williams is asking us to reflect on a time once was and Nikiforuk is asking us to examine the textures that are both palpable and addictive to us.

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John Arabolos and Robert Rattner explore abstract patterns in nature, while Jamie Slenker explores the role of music therapy as a conduit for forming group identities.  Arabolos digitally mirrors shapes taken from photographs of nature, whereas Rattner zooms in on water formations to reveal the refections of swimmers and the surrounding habitat.

Together, participating faculty express the need to discuss human impact on the environment, gender roles and their evolution, consumer messages and their impact on human consciousness, and the need to represent shifting cultural perspectives as individuals and in communities.

Optical Illuminations

Rachel Hellerich’s work has a way of drawing you in…. then letting you go: This place is yours to explore.  Embellished, obsessively woven patterns adorning walls and floors are painted, creating a collage-like appearance.  Lines change direction, perspectives shift, vast depths and colors undulate.  The viewer is seduced by a world that is both intimidating yet welcoming, beckoned to quietly trespass into a strange wilderness of textile-like forms and surreal landscapes.

The viewer journeys through these phantasmal territories, referencing an undercurrent where historical events have played a role.  In Hellerich’s past work, patterns, shapes, and colors were created strictly in the formalist manner.  These patterns and structures themselves still retain that imaginary, yet their roots have more significance.  Hellerich’s work is influenced by several factors including: Asian art, op art, science fiction and military history.  Many works in the show are inspired in particular by structures from the World War II.  These reconstructions, often historically based, introduce positive narratives through pattern-making and retain an optical and zen quality.

Seton Gallery is pleased to be the first to exhibit Hellerich’s latest work, a suite of black and white paintings inspired by early science fiction films.  Through color and atmosphere, the works explore a surrealist quality and sublime nature.  Fascinating as these films are from the 1920s-50s, such narratives serve as pivotal benchmarks in history.  Therein lies a plethora of stories that the artist feels compelled to represent; there is no end date for this project.

Though Hellerich’s background is rooted heavily in sculpture and installation, the last decade has marked a new phase of creative growth focused on painting and drawing.  Due to this previous three-dimensional practice, these pieces are very much created with a three-dimensional mindset.  Her work encompasses a range of paint.  At times the brush isn’t used at all, rather a palette knife is her preferred tool to carve landscapes and dramatize skies.  Hellerich’s discovering additional methods as she progresses to enhance and `sculpt’ her work. Furthermore, the work tends to possess a fluid nature due to their metallic elements; dramatic changes occur when viewed in natural daylight and in the evening under artificial lighting. Hellerich lives in Milford and has a studio in West Haven.  A Connecticut native, she attended Southern Connecticut State University earning her undergraduate degree in Studio Art and later went onto receive a Post-Baccalaureate certificate in the Fiber and Materials Studies program at The School of the Art Institute of Chicago, IL.  Rachel Hellerich is represented by Fred Giampietro Gallery in New Haven, CT.

Islamic Art and Influence

From the Moroccan and Saudi garments floating in space to Turkish prayer rugs that face the qibla, this exhibition is intended to engage the community in an ongoing  dialogue concerning current events and cultural perspectives.  A portrait of King Abdullah by student artist, Alanoud Alarishi, is the subject for a postal stamp design.  The piece encourages a moment to reflect on the King’s legacy in advocating for women’s reforms, lobbying for less U.S. military presence while cracking down on Al Qaeda, and advocating for a stronger education system by creating the King Abdullah scholarship program to send students like Alanoud to the University of New Haven.

Hank Paper’s photographs overlook the Al-Aqsa Mosque in Jerusalem, a neighborhood in East Jerusalem, a Druze villager making laffa on the street, a close-up of a hand reaching into Safran, and an endearing family moment between father and son.  These dynamic compositions provide glimpses into the materiality of daily life. Edward Castiglione’s vivid paintings reflect the ornate designs of Persian carpets and offer a quiet reflection and concern for the pattern of America’s wars in the Mideast.  Donna Leake’s photographs capture The Great Mosque in Cordoba, Spain and fabric and housewares vendors in Morocco, Africa.  Bandar Almarshad’s high contrast ink  drawing captures swirling patternsand mirrored abstractions reminiscent of Arabic calligraphy.  Abdul Zahran’smetallic elephant drawing explores ornate forms and delicate line weights.  Marjorie Gillette Wolfe’s photo of a row of palm trees captures a tessellating organic pattern.  Among collections of instruments, coffee dallahs, and domestic and decorative objects, these artworks describe an ornate and ongoing narrative.

Post Net. Pre Cyborg?

Post

Ann Hirsch | David Livingston | Phil Lique | Casey McGonagle
Bayne Peterson | Janet Shih | curated by Selby Nimrod”

The internet has immutably altered the methods and speed with which we communicate with one another and receive information about our world; it has also incited profound changes to the manner in which we perceive and construct our own identities. Post-Net. Pre-Cyborg? coalesces work from a diverse group of artists, each in dialogue with a theme central to this moment in time: life post-internet.

I, Decay, a series of four YouTube vlog format videos by Ann Hirsch interrogate performances of self and sexuality in the digital age through the bifurcated perspectives of Hirsch’s character Jason Biddies, who’s  “just a regular dude living in Brooklyn, trying to get by, have a nice life, meet some ladies, hang out with my bros, smoke some weed, doing my thing,” and the the artist performing as herself, “the real ann hirsch,” as her online presence is careful to emphasize. David Livingston’svideo 6 documentation of To Hunt and Be Hunted,  a performance at a cat shelter, unpacks the voyeurism present in the internet’s collective fascination with “cute” animals—the self-indulgent anti-selfie. A sequence of GIFs by Phil Lique, presented in situ on a laptop,  simultaneously [and self-consciously] allude to, liquify, and reconstitute pop-cultural iconography, advertisements, and internet pornography. The GIFS are in dialogue with #CONSUMER, a mixed media installation in physical space that employs similar imagistictropes. Casey McGonagle ’s video Homebirth  approaches a certain banality in its absurd exaggeration ofthe selfie, while offering droll critique of the nonchalance with which personal [private?] moments in the life of an individual or family are disseminated to an audience of “friends” and the online public through social media shares. The pulsating psychedelic tapestries that form the backdrops of McGonagle’s video works draw the viewer into a cybernetic hinterland to which the artist’s body is in stark relief, creating a distinct feeling of unease. Sculptures by Bayne Peterson  explore hybridity and memesis through digital mediation processes, and, in doing so, imply the posthuman. Permutations 1  and 2,  transmuted 3D scans of Inches Per Hour,  a sculpture Peterson based on the wheels of the Mars rover Curiosity, appear as weathered artifacts from a distant future. Pools , Janet Shih ‘s re-appropriations of commissioned selfie portraits and collaged imagery are facilitated by such internet communities as Tumblr and deviantART, and navigating the politics surrounding the ownership and distribution of those images.

The work exhibited in Post-Net. Pre-Cyborg? asks as many questions of the post-internet age as it is of its age—exposing and meditating on the increasingly permeable barriers between networks, technology objects, and the self–questioning the identities we construct and who we are becoming.

American Gothic

The exhibit covers the years 1919 – 2009 and is divided into categories and clusters of items, the various walls labeled for specific themes: “Universal” Horrors, Masters of Terror Horror Meisters, Hammer Horror, Horror Comedy, Teenage Monsters, and Modern Horror. Some walls are further labeled with famous names associated with the horror film genre: Lon Chaney, Bela Lugosi, Boris Karloff, Lon Chaney Jr., Val Lewton, Roger Corman, and William Castle. A note about this exhibition: all the posters and lobby cards on display are real, originally produced by movie studios in conjunction with the exhibition of their movies in theaters around the world. In addition to the U.S., there are posters on display from Mexico, Germany, Italy, France, Belgium, Argentina, Czech Rep. and Japan. After the public exhibition of a film theater owners were expected immediately to return the display items so that they could be sent out again for another play date, and so on and on until the movie paper wore out. Fortunately, many theaters failed to do so, and theaterposter exchanges continued operating for decades until they eventually went out of business, sometimes selling off the contents of their warehouses–tons of movie paper. Those very lucky few collecting in the early 1960s were able to buy prime examples of movie poster art for next to nothing by today’s standards. I got into poster collecting rather late, at the beginning of the 1990’s, but was still able to amass, even with limited resources, a very sizable collection. I wouldn’t even attempt to accumulate the breadth and depth of the collection I have today. The material is no longer out there and the prices are astronomical. Even starting when I did, much of the early Universal horror film posters were already well beyond my monetary reach. That’s one reason I focused a large part of my collecting on smaller–and less expensive– lobby cards, 11×14” mini-posters and scenes from the films usually issued in sets of eight. Further, almost all of the 30’s classics (the first Golden Age of the horror film) were rereleased in later years, sometimes several times, and this material was still obtainable when I first started. I’ll end this overview by reiterating, these poster are real. They did not come from gift or souvenir shops. Each one is an authentic piece of movie history that was used to promote a movie in a theater. And what price can one put on that?

Lullaby Lament

Upon first glance at Hanlyn Davies’s paintings, prints, and drawings, one can not help but notice repeated forms that seem to morph from one piece into the next through an exquisite use of light and shadow. Scale shifts and warping perspectives lead the viewer into dramatic, domestic spaces that seem to defy 90-degree logic and frame slivers in time. Familiar forms are juxtaposed with lines and patterns, delicately woven together in a master narrative.

Davies has titled his current exhibition Lullaby Lament. It’s a phrase plucked from the sinister title of his large painting, alphaomegalullabylament(The Cuckoo, Crows, and the Vein of Lice), a piece that references scenes from the artist’s family home in Wales. Davies recalls clearing out his parent’s house after they’d passed on and being confronted by crows staring back at him in the interior. 

“When clearing my childhood home, objects became triggers for memory,” says Davies. “Objects that might have appeared frozen in a particular time became lively and active ingredients in the present.” Davies investigates a set of characters that can be rearranged to retell his story from new perspectives.

Hanlyn Davies lives and works in New Haven, Connecticut. Born in Gorseinon, Wales, he attended Swansea College of Art and later earned his MFA from the Yale University School of Art. His work has been widely exhibited in the United States, Europe, and Asia, and it is represented in numerous public and private collections.