Changing Light: Curtis Ripley & Assembled: Charles McGill
May 03, 2013 — May 29, 2013
PAGE BOND GALLERY
1625 West Main Street
804 359 3633
TUESDAY — SATURDAY
FOR IMMEDIATE RELEASE:
ASSEMBLED: NEW WORK BY CHARLES MCGILL; AND CHANGING LIGHT: NEW WORK BY CURTIS RIPLEY, FRIDAY, MAY 3, 2013.
The Page Bond Gallery is pleased to present Assembled: a selection of new work by Charles McGill and Changing Light: a selection of new work by Curtis Ripley.
An opening reception for the artists will take place at the Page Bond Gallery on Friday, May 3, from 7:00 to 9:00 pm. The exhibition will remain on view through May 25, 2013.
Curtis Ripley’s expressive, atmospheric abstract paintings are dynamic and assertive. His bold palette, often including a mix of primary colors, black, and white, gives his works a commanding presence. The history of each painting is visible, as the viewer is invited to follow Ripley’s energetic brush strokes under transparent layers and washes of oil paint. This sense of action and movement emerges and subsides as the eye moves across each canvas. “Although these paintings are primarily abstract, they do have subjects,” Ripley says. “They have to do with place, time, motion, the season, transience, shadows, music, and the emotion of color.” Ripley notes that poetry is perhaps the most important influence in his work. Like poems, each of his paintings shows an “economy of means” and openness to individual interpretation. His intuitive, lyrical compositions draw the viewer in and encourage quiet introspection.
Charles McGill is perhaps best known for his outrageous constructions that address issues of race, class, and social mobility. Since 1996, he has been working with the unconventional medium of golf bags, deconstructed and rebuilt on to wood panels. He is the fictitious founder of the Former Black Militant Golf and Country Club, an expression of the satire that informs his work. In addition to denoting wealth and social exclusivity, golf has, as one reviewer notes, “a history of institutionalized racism and sexism.” However, his work has evolved beyond the initial direct satire of golf and now places more emphasis on process and the physicality of his unique materials. The material is stubborn and tough to work with and this resistance informs the final result. McGill notes that the expressive quality of the works derives primarily from the process itself: “Golf bags are not meant to come apart,” says McGill, “so there’s no way to make these pieces without getting really frustrated. Some of that frustration and emotion ends up in the work.” His newest work is semi-abstract and is the manifestation of McGill’s struggle with the unforgiving materials of stitched leather and vinyl. It makes use of humor, shock, and the materials of popular culture to gently prod the viewer toward a new perspective on contemporary social dynamics.