Keijsers Koning will present "Assumptions Abide," a two-person exhibition pairing Belgian sculptor Johan Tahon with American painter and sculptor Natalie Westbrook.
The exhibition brings together two distinct bodies of work united by a shared preoccupation with the figure as a vessel to explore composition, art history, and the layers of emotive form. Both artists work in a flux state of form, allowing the viewer to experience fragments of a metamorphosis expressed through the figure.
Tahon and Westbrook build upon the theories and forms of art history, exploring these ideas through the material at hand. Tahon's approach to composition carries an awareness of space and generates a feeling of Hellenistic stylization, even as it turns a spatial view into a two-dimensional surface. These juxtapositions are stark, yet the fluidity of the plaster allows for visual cohesiveness, an even balance struck within an unbalanced situation.
Westbrook burrows into expressive brushwork, which reveals hints of Rubenesque opulence and fiction. Her layers push the viewer from a flat mask to a crevice showing rounded, fleshy tones of form and nymph-like figures. Though it is fiction, the clarity and presence of the forms connect the viewer to a subliminal perception that may be intangible yet is accepted as a form of reality.
Both artists have a full grip on their material and know how far it can be pushed not as an exercise, or to impress, but to aid in their visual search for a juxtaposition of assumptions: reality exchanged for fiction, a rejection of abidance.
Following the opening reception, the exhibit will be on view through October 24.
Keijsers Koning will present "Assumptions Abide," a two-person exhibition pairing Belgian sculptor Johan Tahon with American painter and sculptor Natalie Westbrook.
The exhibition brings together two distinct bodies of work united by a shared preoccupation with the figure as a vessel to explore composition, art history, and the layers of emotive form. Both artists work in a flux state of form, allowing the viewer to experience fragments of a metamorphosis expressed through the figure.
Tahon and Westbrook build upon the theories and forms of art history, exploring these ideas through the material at hand. Tahon's approach to composition carries an awareness of space and generates a feeling of Hellenistic stylization, even as it turns a spatial view into a two-dimensional surface. These juxtapositions are stark, yet the fluidity of the plaster allows for visual cohesiveness, an even balance struck within an unbalanced situation.
Westbrook burrows into expressive brushwork, which reveals hints of Rubenesque opulence and fiction. Her layers push the viewer from a flat mask to a crevice showing rounded, fleshy tones of form and nymph-like figures. Though it is fiction, the clarity and presence of the forms connect the viewer to a subliminal perception that may be intangible yet is accepted as a form of reality.
Both artists have a full grip on their material and know how far it can be pushed not as an exercise, or to impress, but to aid in their visual search for a juxtaposition of assumptions: reality exchanged for fiction, a rejection of abidance.
Following the opening reception, the exhibit will be on view through October 24.
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Admission is free.
