March 5 - 30, 2019
Thursday, March 7, 6-8pm
Liz Ndoye is an artist inspired by many things. She draws upon her experience of seeing and collecting art and fabric from cultures that she has visited all over the world. American artists like the great Hawkins Bolden and Thorton Dial have also influenced her work. Finally, her own childhood dolls and toys have been her muses in her creative process for many years.
The combination of these inspirations has nurtured a passion in her for creating a “society” of dolls or creatures. These creatures have their own cultural universals — language, religion, tools and technology, family structure, politics and government, etc.
Ndoye is a mixed media/fabric artist who enjoys using found and recycled materials to create cross-cultural artifacts like her dolls. The pieces on display in this exhibition at Ceres Gallery cover the aesthetic values of the Doll Culture. Her work in mixed media includes reverse glass painting and works on paper and fabric. Through her paintings and sculpture Ndoye reveals this complex and inviting civilization’s creative side.
March 5 - 30, 2019
Reception: Thursday, March 7, 6-8pm
OFF Balance:"Instability of one's mind or feelings.
A condition in which different elements are not equal or in the correct proportions.”
In this Ceres Gallery exhibition, Jo-Ann Brody explores papièr maché and the addition of color as well as continuing her work with cement. Many of the papièr maché torsos are remade from previous work reshaped, reimagined into thinner faces, arms/hands appear, angles become more acute. By manipulating the figures and distorting them, the women grow stronger and emotionally truer.
Brody works as an emotional and instinctive response to the world. The figures cannot be explained intellectually, they grow from their act of creation. She uses a light weight cement and now papièr maché with found magazine imagery and mulberry paper.
For the past several decades, Brody has worked with figures in series echoing her current obsessions. This body of work represents a balancing act between overtly feminine forms and minimalist ones. The pieces are not stable, even, or correctly proportioned. They are vulnerable and fragile in appearance with imagery evoking bones, trees, and fertility figures. Line rather than mass is the predominant consideration.
Brody’s typical vocabulary includes elongated figures grouped. The cement figures create a “forest of women.” Nature references include tree/forest, classical fertility goddesses, and occasional incorporation of bird features or frog imagery.
Art to Jo-Ann Brody is an island of repose in the ever more challenging world of current affairs.
Reservations suggested. Free
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