FOR
IMMEDIATE RELEASE
BRITISH ARTIST JANE
HARRIS - PAINTINGS
BAY AREA ARTIST WESTON
TERUYA - WORKS ON PAPER
The Patricia
Sweetow Gallery
is pleased to welcome British artist Jane Harris in her first solo
exhibition at PSG - along with Bay Area artist Weston Teruya who also debut's in
his first solo exhibition. Exhibition dates are October 31 - December 16, 2006. The artists' reception is Thursday,
November 2, 5:30 Ð 7:30 p.m.
Engrailed, invecked: it would be easier
to talk about Jane Harris's painting if we all knew the language of heraldry,
and especially the names that heraldry give to various kinds of edge.
Tom Lubbock, The
Independent, May 2, 2005
The oil paintings of Jane Harris are a dazzaling
collision of brushed geometriic
shape floating on a ground of contrasted color, the collision of formal
construct and sensous indulgence. The elliptical shape is meticulously brushed
with a continuous vertical or horizontal stroke until the entire ellipse is
saturated with a single rich hue. Surrounding the ellipse is a scalloped edge
of sinuous brushwork, which upon inspection defiies a beginning or ending mark.
In a Harris painting light becomes the catalyst which activates the metallic
paint, shifting the ellipse into undulating mollusks in a sea of color. The
backgound color also has a defined brush direction, also painted wet on wet,
with no less than 5 layers of oil. Jane Harris selects a pallette based on the
impressions of observed phenomena, a car passing, colors in a sign, an advertisement.
The 5 paintings in this exhibition derive from "catching a glimpse of the
metallic flash of two cars driving past each other".
Jane Harris has taught at Goldsmiths
College, London since 1992. Recent exhibitions include the Aldrich Contemporary
Museum, Ridgefield, Ct.; Angel Row Gallery, Nottingham, UK; Hales Gallery,
London; Kontainer Gallery, Los Angeles and Jack Shainman Gallery, New York.
Collections include Arthur Andersen Art Collection; Arts Council of England,
Haywared Gallery; Birmingham Museum, UK; The Boise Collection, University of
London; Brighton University; LAAC Musee des Beaux Arts, France. Recent reviews
and articles include Modern Painters; The Independent, London; Contemporary
Magazine, UK; International Herald Tribune, UK.
Weston
Teruya
drawings are the crevassed psychological space of nightmares. His beauty forms
unbalanced columnar symbols, chaotically poised for collapse. The surface of
Teruya's drawings are sourced from his own drawings, cut and collaged in a new
composition. The reconfiguration of symbols interacts to create unexpected new
meanings. His ideas were drawn from the Los Padrinos Juvenile Hall nested in
the midst of Los Amigos Golf Course, where Weston worked with juveniles in
detention for various offenses. Teruya observed that the protected status of a
juvenile population is in direct contrast to the invisibility of this same
population to public oversight. Teruya's drawings describe the issues of power,
invisibility, and protection.
"I
am interested in collecting and collapsing the signals and objects of
exclusion, separation and leisure.
These images typically define and reinforce spaces of privilege through
the creation of sites of control.
The work is a speculative exercise of sorts. I am particularly interested in suggesting new fictive
configurations which imagine new social possibilities or frustrate present
political realities."
Weston
Teruya
received his MFA from California College of the Arts in 2006. He is in his
second year of the Visual Criticism program at CCA to be completed in 2007. He
has received the Murphy-Cadogan Fellowship Award from the San Francisco
Foundation, and the Yesland Prize Exhibit Award from Magic Theatre, San
Francisco. His work was recently reviewed in Art Forum, Critic's Picks, San
Francisco Bay Guardian, Artweek, and San Francisco Weekly. Teruya has a solo
exhibition scheduled at PSG Oct/Nov 2006.
For
further information and press materials please contact Patricia Sweetow at
415-788-5126. Gallery hours: Tuesday through Friday 11:00 - 5:30 pm, Saturday
11 - 5.