Critical Reflection: Eric Garduño: Gravity's Delta
11/15 by Lauren Tresp for THE Magazine
The understanding of the word "artwork" is that work was done by an artist, and the art exists as a result of that work. In case of Eric Garduño's solo exhibition at Peters Projects, Gravity's Delta (through December 26), the pieces are doing work of their own. In constant dialogue with space, these works are also in continuous dialogue with one another, and project their presence beyond their discrete contours. The seven piece's reflect strong formal considerations: a particular study of the unique geometry of the triangle, and an investment in space and gravity. Stripped down to essential outlines and shapes, but comprised of a variety of media and materials, the exhibition invites viewers to indulge in a fascination with clean linearity, a minimalist metier, and a repetitious definition and redefinition of form and shape.
"Trophies and Prey" at Peters Projects
11/15 by Jon Carver for Art Ltd.
In "Trophies and Prey: A Contemporary Bestiary," at Peters Projects, noted ceramics dealers and curators Garth Clark and Mark Del Vecchio (now based in Santa Fe) present mixed media and ceramic works by eleven artists from a diversity of global settings. Highlights include the incredibly virtuosic stoneware sculptures of Beth Cavener, which encapsulate psychological states of tension through beautifully realized animal forms, full of movement and struggle as they resist traps and tethers. Psychological fables of human cruelty are currently the center of her exquisite explorations, which render analogies and allegories as true and as timely (read terror and torture) as any of Aesop's.
Alessandro Gallo, born in Genoa, Italy, but now based in Helena, Montana maps similar territory, blurring the lines between human and animal psyches, yet set in more mundane predicaments. Recalling Maurizio Cattelan's taxidermy series of socially outcast squirrels in both pathos and humor, Gallo presents freestanding ceramic and mixed-media figurines along with largish Photoshopped black-and-white images of animal-headed humans in various amusing settings. In Magician, a goat-headed guy with a great matrix of curling horns sits in a spare room concentrating on a lone, bent spoon before him. In Kate MacDowell's magically detailed white porcelain Nursemaid 1, 2 and 3 (all 2015), hybridism between the humananimal and animal-animal worlds is more haunting than hilarious, as a small monkey carries and protectively suckles a human infant, the ghostliness of the porcelain contributing to their dreamlike surrealism.
Gold Rush by Jason Middlebrook
09/17/15 By Nanette Wong for Design Milk
Jason Middlebrook is a mixed media artist that creates amazing artworks with wood. Using discarded and salvaged wood in Hudson, NY, Jason creates colorful, geometric compositions that provide a sharp contrast to the rough-hewn wood. What intrigues him most about using wood is how it acts as records of history and creates distinct conversations with their surrounding environment. Taking inspiration from artists like Frank Stella and Ellsworth Kelly, Jason juxtaposes aged, natural materials with contemporary patterns and colors. His installation, Gold Rush, is currently on display at Peters Projects.
09/26/15 by Jordan Eddy for Visual Art Source
If starting in a garage remains a classic origin story for a band or a business, growing up in a junkyard must be the parallel for a sculptor. Leonardo Drew spent his childhood playing in a dump near his family's home in Bridgeport, Connecticut, and created his first found object sculptures there. As a young artist in 1990's New York, Drew learned to polish — or rather, patina — flotsam and jetsam into sharp political weapons that cut to the heart of America's history and enduring struggles with race relations. New York Times critic Roberta Smith called Drew's densely textured installations featuring scrap metal and animal carcasses "an endless catastrophe seen from above."
Drew's latest contribution to this growing legacy is on view at Site Santa Fe right now, as part of their “Unsuspected Possibilities” exhibition, and this concurrent show “Leonardo Drew: Paper” possesses all the physical grit but none of the exposition. Despite their glistening, deliciously fungal layers, these works on paper have neat labels: “11P,” “13P,” “38P.” Drew deploys a wide array of paper-making techniques, building up textures by embossing and casting cotton paper pulp, and applying earthy pigments by hand. It's disorienting at first to witness Drew's orchestrated chaos removed from its message, like being stabbed by a knife to discover, to one’s relief, that it's a stage prop. Here are all of the tools of a powerful artist-activist, built from mush instead of rusty steel. When the initial shock subsides, process comes to the forefront. A watercolor can give birth to an oil painting and a piece of cast paper that practically congeals from the wall is a suitable study for a sculpture made with sharper edges. This is some very fine rubbish.
Pride of the animal kingdom: Trophies and Prey
08/07/15 by Iris McLister for Santa Fe New Mexican - Pasatiempo
In late July, news broke of the death of Cecil the lion, a beloved thirteen-year-old lion killed by American dentist Walter Palmer on a bow-hunting trip in Zimbabwe. Palmer’s safari — coupled with the controversy surrounding Idaho hunter Sabrina Corgatelli’s pictures of her kills from a South African trip, which she triumphantly posted on social media — has sparked widespread outrage, prompting many to question the value of big game and sport hunting. In light of this news, Peters Projects’ Trophies and Prey: A Contemporary Bestiaryseems especially timely. Together, the show’s eleven artists — Jeremy Brooks, Undine Brod, John Byrd, Beth Cavener, Michelle Erickson, Alessandro Gallo, Jan Huling, Jeff Irwin, Wookjae Maeng, Kate McDowell, and Adelaide Paul — present an engaging survey of multimedia, animal-themed artworks rife with suggestion and symbolism.
Curators Garth Clark and Mark Del Vecchio are professional and personal partners who ran galleries in Los Angeles and New York City for decades before moving to Santa Fe in 2008. Self-proclaimed “ceramophiles,” Clark pointed out that ceramic artwork was “looked upon as craft — and then when that label was removed, there was a frenzy to show the work.”
In New Mexico, a Robotic Butterfly Garden Awaits
06/25/15 by Nicole Walsh for the Creator's Project
You can wander through a mystical robotic garden accompanied by its very own fluttering butterflies and leaves, thanks to Ryan Wolfe’s newest contemporary art installation, Branching Systems. Currently on view at Peters Projects in conjunction with the 2015 CURRENTS New Media Festival in Santa Fe, the piece is comprised of masses of robotic leaves which flutter like butterflies creating a space filled with movement. An interactive installation, Branching Systems observes viewers' physical movements are the catalysts that trigger the swift-paced and divergent movement in Wolfe’s artwork.
Wolfe, an accomplished designer, creative director and media artist, utilizes his pieces to study group behaviour. Branching, a modular installation consisting of a series of vines whose leaves respond to input by the viewer and in turn respond to other leaves, is a very literal presentation of Lorenz's "butterfly effect."
Art Meets Science in a New Group Show at Peters Projects
03/27/15 by Anna Furman for Artsy
Gerald Peters Gallery and Peters Projects have joined forces with New Mexico’s Spatiotemporal Modeling Center (STMC) and Los Alamos National Laboratory to present “Inventory of Light,” a group exhibition that integrates works in a variety of media with microscopic, scientific images. Art and science—two disciplines more often viewed separately than in direct relation to one another—intermingle in this exhibition, in the form of a synchronistic look at infinite space and phenomenology.
A brilliant work by light and space artist Lita Albuquerque, entitled Beekeeper (2006), uses computer generative software to create a luminous image of a solitary figure against an all-black background. Albuquerque has said that her inspiration was,“to present the visual similarity between a beekeeper and an astronaut,” which she approached by “[creating] a narrative around which the beekeeper’s aim is to help maintain biological life on the planet and the astronaut became the starkeeper maintaining life in the cosmos.” Unlike with her earlier works, where she explored scale and the representation of celestial landscapes through pigments, here, Albuquerque worked collaboratively with Chandler McWilliams and Jon Beasley to create animated digital pixels that would expand and condense, deconstructing and reforming the images over time. This fluid metamorphosis allows the figure to take on multiple identities—a beekeeper, an astronaut, or an ambiguous, celestial being.