Holly Johnson Gallery in Dallas presents the opening of The Poem's Four Corners, a solo exhibition of new work by James Buss.
Taking an approach which may vary in formal terms but stems from a common concept, Buss' work begins with a solitary affection, however slight it may be, that opens to a spectrum of references using an initial gesture or imprint and the forensic properties of plaster as a medium of empathy and mimesis. Buss also employs photographs and drawings to investigate his interest in the onset of the image. Traces (impressions, marks, residue, and remains) and the creation/depiction of banal spaces provide subtle hints of imprecise notions or remembrances. By these means evocative, telling images are impressed on the senses or the mind. His interest in the materialization of textual metaphor through casting and monotypes forms the core of his studio practice.
Following the opening reception, the exhibit will be on display through November 12.
Holly Johnson Gallery in Dallas presents the opening of The Poem's Four Corners, a solo exhibition of new work by James Buss.
Taking an approach which may vary in formal terms but stems from a common concept, Buss' work begins with a solitary affection, however slight it may be, that opens to a spectrum of references using an initial gesture or imprint and the forensic properties of plaster as a medium of empathy and mimesis. Buss also employs photographs and drawings to investigate his interest in the onset of the image. Traces (impressions, marks, residue, and remains) and the creation/depiction of banal spaces provide subtle hints of imprecise notions or remembrances. By these means evocative, telling images are impressed on the senses or the mind. His interest in the materialization of textual metaphor through casting and monotypes forms the core of his studio practice.
Following the opening reception, the exhibit will be on display through November 12.
Holly Johnson Gallery in Dallas presents the opening of The Poem's Four Corners, a solo exhibition of new work by James Buss.
Taking an approach which may vary in formal terms but stems from a common concept, Buss' work begins with a solitary affection, however slight it may be, that opens to a spectrum of references using an initial gesture or imprint and the forensic properties of plaster as a medium of empathy and mimesis. Buss also employs photographs and drawings to investigate his interest in the onset of the image. Traces (impressions, marks, residue, and remains) and the creation/depiction of banal spaces provide subtle hints of imprecise notions or remembrances. By these means evocative, telling images are impressed on the senses or the mind. His interest in the materialization of textual metaphor through casting and monotypes forms the core of his studio practice.
Following the opening reception, the exhibit will be on display through November 12.
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