This month The Second Space gallery in Spokane, WA held its first ever juried show titled “Lipstick and Rouge”. The show’s title was to illicit the idea that color can portray emotion or be associated with a thought. Most of the work accepted seemed to hold true to the theme or a least lean heavily enough on a limited palette that one could argue for it’s admission easily.

Of course there were a few of the standard tricks. The now ever-present low-art/high-kitsch realm was being held down by a few different artists. There was a blatant, poorly executed Mark Rothko steal, which didn’t seem to fit anywhere. Despite those few outliers there wasn’t an overabundance of mediocre or unoriginal art, which is always surprising given the Spokane region’s lust for non-offensive, home-decor.

To be honest though, I really shouldn’t be surprised. After dropping by The Second Space a few times since this summer I have consistently been impressed. The quality of work shown, the presentation and atmosphere have always been both comfortable and creative.

Although the bulk of work shown was from local artists, much of the  work shown was shipped from all over the country for the chance to exhibit in this juried show. Only three awards were given, The Dean Davis Award went to Dara Harvey of Spokane for “Portal Of The Messenger” (oil on canvas), the Best of Show went to Megan Martens also of Spokane for her work, “First Comes Love…” (oil on fabric on canvas) and the Merit Award went to Kim Truesdale of Columbia, SC for “Violent Enticement” (oil on canvas). I am not sure how the awards were decided upon, and I’m not entirely sure that the works given the awards were the most worthy of them. However, I can be certain that all three we’re excellent compositions.

“First Comes Love…” managed to stop me in my tracks. I spent a few minutes trying to find follow Martens’ process. It appears  to be a floral-printed fabric stretched or otherwise affixed to a canvas. The image over the print was a semi-translucent wedding dress, painted smoothly over a mist of red.

Featured in the exhibit was our own Rebecca Roberts whose “Reduction” (oil on canvas) series definitely stood out among the pieces hanging. The series consists of four brightly colored canvases detailed with different types of cells and synapses stretching across them. They appear to be almost abstract, but the attention to detail renders the subject matter to be quite specific. Her four-piece set was hanging in a perfect spot to catch the attention of passersby, and it certainly managed to command attention from the sidewalk.

A juried show is almost always a grab-bag of visual treats. When done well there are almost always a few outliers that either supercede the standard or fall a little short of the status quo. Personally, I feel that The Second Space has managed to give the Inland Northwest a great venue for art as well as offering a great mix of work from a wide variety of individuals that is perfect for coming in out of the cold, meandering around and stroking your chin thoughtfully.

What drew me to this piece was the initial visual confusion of its medium. The acrylic paint is rendered so smoothly that that piece (when seen on the computer, maybe) appears almost three dimensional, clay perhaps. The implied depth is especially impressive given the relatively small color palette. The dark crescent shape at the base of this image initially distracted me, and perhaps it still does, but when I try to picture the piece without it, I can see the need for such an anchor.

Anyone else get Earthworm Jim flashbacks when looking at this?

The simple, single-word title informs the piece nicely, allowing the grotesqueness of the image to feed off of the simple body-part designation. Similarly, Steve Wilson’s complimentary piece, “Brains” (below) does the same thing, perhaps even more-so given the additional s on “Brains” (it sounds so much grosser with the s for some reason).

Visit Steve Wilson’s Deviant Art portfolio

The style here is almost illustration, but with more vibrance and depth. The iconography

used in the work speaks of a post apocalyptic world that is almost inevitable. His technique to deploy such metaphor is very much akin to the surrealists and to me seems to have touch of Rene Magritte

One of my favorite features of his work is the prevalence of vivisected ecosystem.  It references the scientific illustrations we’ve seen in textbooks, but doesn’t airbrush the details. Its as if a little piece of our planet from 50 years into the future was placed under a slide.

With such relevant topicality its no wonder that he’s getting so much attention.

*To see more of Keyes’ work go to http://www.joshkeyes.net/. I highly recommend it!

Your Bother In Arms

JS

Personally, I am a sucker for the caricatured innocence that seems to be all the rage lately. The large heads, cartoonish color palettes and styles, the enlarged eyes; all of it works for me. With this piece in particular, I think it is the colors that are the most striking element. And that is saying a lot considering the cardinal nesting in this subject’s throat. Quite a skill, to create such a visceral image, but still have it dominated by something as seemingly simple as color.

Visit:
Caleb Morris (the artist)