The greatest thing about walking into this jury show was the quantity of work, mad technical skill, and the well-executed concepts in one show. Every emphasis in the Art department should be proud of their students. With that said, I'm a 2D exhibitionist, so I'm giving a review based mostly in that field. Sorry 3D, I'm going to group counseling and working very hard to improve myself. Soon I hope to give you the mad props you deserve.Four pieces stuck out to me the most in this show. The work was simple and sweet all the way down to the title. Titles were important in this show, either it was really bad, or it assisted the work like a wench's assistant. Sadly, I think there was a lot of pieces falling into the first category. The work I admired had titles that kept the viewer engaged.
"America" done by Adam Lynn had friction. The rhythm in this work was down right dysfunctional. And I like it. His painting is dirty and nasty. Adam engages the viewer and himself in a conversation with questions and no direct answers. Literally, this guy used dialogue bubbles in pre-elementary handwriting. The color field was off. His spatial plane and figure drawing had no aesthetic anchors. His application of paint along with the canvas itself was so raw and outsider that it imitated the works by Ed Templeton among other Sk8/Punk/DIY kids from the 90's. And why do I find this to be all wonderful? With the title "America", this painting could have easily been preachy, egotistical and just plain annoying. He could have patronized his viewer with a technical high art application. But he didn't do that. Instead he humbled himself as the protagonist, and with that he humbled the viewer.
The next piece that made me want to run into the bathroom with a box of Kleenex would have to be Kathryn Snugg. "B for Best?" with the pop icon of deer had me going. Her canvas was made by recycled bed sheets, quilted together to create it's own modern composition. Vertical stitching broke the space well by being graphically imperfect. She threw in the pop image of John Deere acknowledging the fact that she's trekking worn territory. Deer head drawings were empathetic, but also connoted taxidermy. This was a really smart move on her part. This piece is not just a feminine piece referring to past lady crafts, but speaks to a wider audience. She was throwing all of the images of "Deer" into one big pot, accompanied by a meticulous drawing hand, stitching and embroidery. And like Adam, her materials looked accessible to anyone that has the need to communicate.
The next piece that I loved was an aesthetic bad boy. The character in his story was caught with his pants down, exhibiting greedy consumption with crude imperfection. Richard Evan Holmstrom's "2-1-2-3" is on such a large wood canvas that you are exposed to hairy legs and tighty-whiteys from across the gallery. This character is humorous, misogynistic, and demanding. At the same time, he's a mere simpleton. The great thing that Holmstrom illustrates in this piece is also a sense of vulnerability. The use of color pink is seen more as Freudian reference then aesthetic. He's mixing comic book with Modernism. It's hot! The character and his many egos and desires are all isolated from each other while the background is a generalized abstraction. The painting is ironic conceptually and visually. When I look at this big guy I can't help but think that Richard is thumbing his nose at someone or something. His technical skills is exceptional and up to par in an academic world. Hell, he even made a nice canvas (that was also an obvious fault in this show: badly made canvases). Maybe it's the man getting him down, who knows. 
And last but not least we have Sheilah Healow. So many students and artist around this town has tried to tackle the chaos/order subject and has failed miserably. Sheilah makes it look easy. A quaint little drawing "Transition" showed complexity, movement and engineered lines bottled up like an atom bomb in the middle of a raw piece of paper. The multi-media piece reminded me of the work of Julie Mehretu. Color and line patterns along with topography creates a organism made of unlikely elements. But unlike Julie's work who focuses more on engineering and networking as a global technological organism, we see Sheilah making hers more micro than macro. She keeps her organism in a round-up, dead center of the paper as if it's a petri dish observation. She makes it more humanistic with drawings of anatomical imagery like intestines and feet. I've seen Sheilah's work before, and what I like about her is that she is not afraid to try new mash-ups but at the same time she will always have her signature moves.As you can see there was plenty of more great pieces in the show. So many were reminiscent of styles and movements that are going on this day and age. These four artists just happened to turn me on in that certain way. It takes all types. Congrats to all the ones that submitted their work. Congrats to all that got in. The show is only up until the 20th, so get on over there.
A bunch more photos from the show after the jump.
