Words from the Curator, Kyle Butler:

 

Rebecca Aloisio's work falls near to collage, combining painted marks, photographed surface texture, distinct but unidentifiable forms.  What might normally be paper white, negative space, is instead infused with the tonal gradient atmosphere of a variably lit interior.  But the borders of the collage's components are hard to pin down, a trickster quality the work has stemming from Aloisio's transitioning between physically made components, documentation, digital reassembly, and back again.  

 

Debbie Medwin's work grows from a playfulness in the studio, where she tests out multiple iterations using a decided set of components until something clicks.  Her fabric, paint and craft supply assemblages often begin with an image in mind (such as pleated fabric and pom poms resembling a chrysanthemum), but the image is often overtaken by her inquisitive process of engineering the work.  

 

Janet Harrison's dense and erratic  drawings appear abstract at a glance: patches of colored pencil lines that change their behavior as the piece develops. Harrison actually embeds images in a free associative manner as the drawing progresses.  They are so heavily stylized that spotting them can feel similar to spotting  a constellation among stars.  Recently, Harrison has been developing some ambitious, large scale pencil drawings on rolls of Mylar that will be featured in the exhibition.