The University of Washington runs the biggest art program in Seattle, and when I was out there last week, first-year MFA student Travis Davis Smith picked me up at the airport and took me to the MFA studios, which are housed in an old navy base.
Attached to a one-story brick building, this rock climbing wall sits next to the old barracks that houses the MFA studios. Imagine how vivid the color of that painted sky looks on Seattle's dark, dreary days.
From the press release: "His photographs of lawns painted solid black or white focus on the urban environment as a zone rife with borders; these works suggest voids that have become part of a mysterious, and possibly contentious, narrative. They prefigure his current canvas paintings that transfer the (literally) painted landscape into the realm of abstraction. Dadson utilizes the very materiality of thick layers of paint—applied to multiple canvases standing on the floor and leaning on the wall and each other—to reinforce his allegorical interest in boundaries. Dadson asserts that 'Everything has boundaries; the delimitations between such can be static and opaque or permeable and imagined. In my practice, I search for the spaces and opportunity to then question where such boundaries begin and end.'"
Overall, the exhibition lacked focus. I would have appreciated these thick gooey monochromes even more without the belabored explanation. Photographs of the painted lawns were on display, too, but they should have been in a smaller supporting role rather than enlarged, framed and scattered throughout the exhibition. Or perhaps Dadson could have focused more strongly on the painted landscapes and brought the objects into the gallery rather than presenting photographs that wavered indecisively between documentation and formal art objects. As the work is arranged now, the connection between the paintings and the landscape images strikes me as notional and contrived rather than organic, but the exhibition's shortcomings have to do with the installation (and statement) rather than the work itself.
In The Stranger, check out Jen Graves's article about the 2011 Brink Awards shortlist.
More Studio Visits with Seattle Artists.
At Process Art, Danila Rumold writes about Robert Storr and UW faculty member Denzil Hurley's Francne Seders show, which, unfortunately, I didn't get a chance to see while I was in Seattle: Economy of Means: Robert Storr & Denzil Hurley
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