January 29th to March 15th

opening Reception Thursday, Jan 29, 7-9 pm.

 Jessica Labatte, Imitators. 2010, 20x24 inches

Air Circulation has the pleasure of introducing “Mimic”, a group exhibition about mimicry, illusion, and material transformation in art. Featuring works by: Thomas Albdorf, Dave Hardy, Jessica Labatte, Danielle Mysliwiec, Marsha Owett and Aaron Williams.

Curated by: Paddy Johnson and Marsha Owett

What are the components of a transformative art viewing experience? Critics have written volumes on the subject, but perhaps the most basic comes from the artistic impulse to mimic and to disorient through illusion and allusion. This show assembles a group of artists whose art challenges the viewer’s perception. Space collapses, materials look like other materials, gesture is scrutinized and transformed. In short, each work is infused with just a little bit of magic.

About the artists:

Tomas Albdorf uses nature and landscape photography as a stage and base material for pre and post photographic interventions. His work often integrates graffiti-related methods and is created through spontaneous arrangements in public spaces and compositions staged in the studio that echo the works created outside.

Thomas-Albdorf-Unknown Houseplant

Tomas Albdorf, Unknown Houseplant. 2014, 50x40 cm

22_Albdorf-Tree Accumulation

Tomas Albdorf, Tree Accumulation. 2014, 42x30 cm

2014-05-06_01 001

Tomas Albdorf,Typical Alpine Flora at the Hochschwab Area (from the series Beholding Mountains), 2014 , 24×36 inches

It’s not always apparent why Dave Hardy’s assemblage sculptures made of refuse glass, foam, and cement stand on their own. Glass stands precariously on foam; foam is stacked on glass. The works often look like they should topple, but their parts push up against each other, suspended in an abject struggle with gravity and time. Petrified in these rigid arrangements, Hardy’s work seems a little uneasy and a little absurd.

Dave Hardy-mountain

 Dave Hardy “Mountain”, 2013 mixed media

Jessica Labatte’s Imitators makes image orientation a challenge. Through the use of mirrors and camera lenses her photographic abstract assemblages make the difference between the ground and the wall or an object and the re- production of object almost impossible to discern. It’s these illusions that make Labatte’s work so fascinating; they are a beautiful if slightly unsettling puzzle.

Danielle Mysliwiec weaves with oil paint. Her abstract patterned paintings are informed by nature and personal events and mimic thread seamlessly.

Danielle-ships passing

 Danielle Mysliwiec “Ships Passing”, 2013,  13X9” mixed media on wood panel


 Danielle Mysliwiec “Aguayo”, 2013,  13X9” mixed media on wood panel


 Danielle Mysliwiec “After”, 2013,  13X9” mixed media on wood panel 

Danielle Mysliwiec-Imitators.

 Danielle Mysliwiec “Mild Winter”, 2013,  13X9” mixed media on wood panel 

Danielle Mysliwiec- After

 Danielle Mysliwiec “Repose”, 2013,  13X9” mixed media on wood panel 

Abstraction and transformation is at the heart of Marsha Owett’s photographic practice. Through a process of taking thousands of shots in a single location—be it a park, a beach, a public space in the city— Owett will intuitively zoom in on details to create abstract compositions. From there she spends hundreds of hours editing and arranging images that often gesture to the painting process.

   Faceless Killer 1   Faceless Killer 2

 Marsha Owett “Untitled 1&2”, 2014, Ed.5+1 AP archival dig. print on aluminum  

Marsha Owett owett Muddy Waters

 Marsha Owett “Muddy Waters”, 2014, Ed.5+1 AP archival dig. print on aluminum

Aaron Williams works with ideas of construction, abstraction and embedded meaning. For his contribution to the show, Williams visited museums and galleries, taking detailed photographs of paintings by famed abstractionists: deKooning, Cy Twombly, Kline, Motherwell and Guston, among others. He then photographed errant marks which, while prominent parts of the work, are largely accidental: drips, spatter, pools of paint and the remnants created from the paths of strident brush strokes. Isolating these elements, he created a digital drawing which was then carved into painted, construction grade panels. The resulting piece presents an inverse of these accidental marks; they are recast in the role of pictographs, routed into the surface of the panels. In doing so, he questions the idea of the heroic gesture and the spiritual subtext proposed in much Abstract Expressionist work.

Aadron Willams 2

  Aaron Williams “Carve IV”, 2013, Acrylic on routed particle board panel 40"x 30” 

Aadron Willams 1

 Aaron Williams “Construction”, 2013, Latex on CNC, routed particle board panels, 48" x …”