EPHRAIM—Three new exhibitions are coming to Granary Arts featuring the works of Collin Bradford in the main gallery, Horacio Rodriguez in the upper gallery and Lisa McCarty in the CCA Christensen Gallery beginning Wednesday, Oct. 16, through Friday, Jan. 24, 2020.
An artist reception will be held from 6-8 p.m., Friday, Oct. 18, at 86 North Main Street, Ephraim. Admission to the gallery is free, donations suggested. Gallery hours are 11 a.m.-5 p.m., Wednesday through Saturday. For more information, visit www.granaryarts.org or call (435) 283-3456.
Collin Bradford presents Temporary Configurations of Earth’s Matter. Bradford’s work explores the incompleteness of the various ways people can know and represent the land: first-person observation, photographs, surveying, walking, satellite imagery, 3D scans of the earth’s surface taken from space shuttles, etc.
Having experimented with these different methods, Bradford is less concerned with images and the apparatuses that produce them. He addresses the land more directly, turning toward the dirt and rocks themselves, the stratified cliffs, the Gambel oaks and investigates more deeply how everything people know is only a temporary configuration of the land’s matter.
The mountains and valleys, the buildings people work in, the roads vehicles travel on, the plants that are eaten, and therefore a person’s own flesh, bones, brain – all are fleeting configurations of the earth’s matter, and all of that matter will erode, decompose, disperse, and once again become the earth.
People will become the rocks of the future. This cyclic perspective of time is an understanding expressed in ancient wisdom traditions and in the natural sciences – a questioning of how humans conceive of their relationship to the physical world, and how they make sense of their place on earth and in time.
Horacio Rodriguez presents Subversive Souvenirs. Rodriguez makes work about the many borders he has crossed in his life. As a product of multiple cultures and identities, he uses his art as a vehicle to explore personal narrative through memory, and psychological and physical borders.
He creates a hybrid conceptual framework using objects and symbols synonymous with pre-Hispanic and Mestizo culture, and the seductive visual language of Western dominant culture – thus mimicking his own layered identity.
Rodriguez takes inspiration from the Chicano artists of the 1970s and 80s, the Mexican muralists of the 1920s, and the indigenous cultures of the Americas. He is a champion of the outsider and a child of the 1980s, incorporating the iconography and neon-colored materialistic symbols of his childhood into his work.
His creative process involves consecutive firings to build up multiple layers on the surface of the clay. Projected imagery and photography coexist with slip-cast ceramic pieces infused with original and appropriated imagery. This hybrid mix of media and techniques approximates the unique, often contradictory, spirit of the border aesthetic.
He applies the latest in digital scanning and printing technologies with centuries-old Pre-Colombian artifacts and ceramics processes to create a series of slip-cast canvases that explore issues such as immigration and migration, cultural appropriation, identity and revolution.
Lisa McCarty presents Photosite Array. Photosites are light collectors. They are at the heart of every digital camera and the only light-sensitive element utilized in digital imaging. If photography is defined as writing with light, then photosites are at least partially scribe.
Within each camera’s image sensor there are millions of them; minute, light sensitive, silicon chambers. They hold light, just for a moment, before converting it into a signal that is legible to our various electronic devices.
McCarty makes images that document this last light before digitization. These instances–when light is simultaneously received, reflected, amplified and absorbed–are usually “visible” to the camera alone.
Over a two-year period, McCarty collected image sensors from an array of disused and dismantled digital cameras. She then uses a microscope to capture images of these hidden sites that are responsible for translating light from the physical world into the digital realm.
Photosite Array is a 12-channel video installation that chronicles her explorations to make these invisible processes within every digital camera visible.
About Granary Arts
Granary Arts is supported in part by Utah Arts & Museums, with funding from the State of Utah and the National Endowment for the Arts, George S. and Dolores Doré Eccles Foundation, Stewart Family Foundation, and generous support from Ephraim City.