July 20 - August 11
Opening Reception July 20, 6-9pm
Borderline is pleased to announce an interdisciplinary group show featuring Nicole Aponte, Becca Barolli, Nathan Becka, Kristen Brown, Becca Frantz, Laura Gillmore, Cathy Lu, Fernanda Martinez, Joshua Rampage, Lauren Ross, Courtney Sennish, Chris Thorson, MJ Tyson and William Erhard Winter, based entirely on scale: 10x10x10. No artwork may exceed ten inches in any direction.
We live in a base-ten society; ten is the number we use to scale, both upward toward the edges of the universe and downward to the quantum levels. With 10x10x10, Borderline hopes to scale down and shine a light on the diminutive, the bite-sized, the reduced. Such a collection of small works provides an alternative to the current trend of the immersive, the selfie-inducing, and the larger-than-life.
Don't tell anyone, but here you reflect my desire to rid myself of the past. To forget but a mere moment of those people you hang onto, those emotions, those experiences from. Today I release.
This piece has 30 rebar tie wire braids with filed down fringe held together by 20 rows of steel twining, amounting to 600 knots total. I use raw industrial materials in conjunction with textile based processes to construct objects that reference a hard, unforgiving need to fit into a traditional domestic space. Being handmade, variations in tension distort the grid system that is so meticulously planned, contrasting a need for control with the inevitable chaos.
Cheap American Domestic is the brand of a company which is the entirety of another dimension parallel to the Midwest. Nathan Becka found himself there alone and now cannot leave.
My work explores themes of dissociation, transience, and truth. Overlapping images and fragmented panels resemble the process of sorting through memories that feel scattered. My works illustrate questioned or manipulated memories and the altered perception of reality that occurs when a memory cannot be secured or properly categorized.
This body of work deals with the moments of life that make me uncomfortable — the spaces and personal topics that are hard to discuss with others. The slightly distorted figures serve as a platform to showcase individuality and hint at the stories that could be within each piece. Additionally, the use of traditional ceramic forms, like plates and platters, coupled with taboo and private subject matters are meant to corrupt what we expect of the medium within a domestic environment.
My work focuses on the intersection of consumerism with social media. Much of my research has been directed towards sites like Instagram and Facebook which feature lifestyle imagery, influencers, and digital advertising. I am interested in the absurdity of this content and how the individual’s attention has been commodified into an economy of “bottomless” scrolling.
My work revolves around the manipulation, appropriation, and de-contextualization of traditional Chinese art imagery and presentation as a way to explore how Eastern imagery is seen and understood in the US, and how ideas of cultural ‘authenticity’ and ‘tradition’ interface with contemporary trans-cultural experiences. My materials are rooted in traditional Chinese art, working mostly in ceramic – based sculpture and watercolors. My work draws inspiration from the displays at the Asian Art Museum, to fruit markets in Chinese immigrant neighborhoods, and to the trinket shops in Chinatown.
Color is the main character of my art. Through my artwork I aim to inspire others to admire the beauty of the ordinary, draw the attention to details and prompt to reconnect with the natural world. La Tinta is a world of plants that celebrates life; it is a space that brings joy and harmony by showing bursting color palettes that brighten up the common.
I attempt to show a reflective perspective in each aspect of my work by creating playful narratives that evoke happiness and emotions. The combination of unstructured shapes with enthralling color mixtures result in surreal illustration scenes and unique pattern pieces. My ideal mediums are gouache and acrylic because they allow me to experiment with layers during my creative process.
Most of my inspiration comes from environmental elements such as plants and flowers; neverthless, photography, interiorism, folk ornaments and textile design have contributed to my creative process.
The artistic process of cultivating, distilling, and then obscuring secrets in paint is metaphor for the human experience. We bury the past; out of sight and out of mind as status quo. Secrets are a specific burial; the subconscious can be a graveyard.
These abstracts are derived from literal secrets. Secrets reflect us and frame how we interact with each other.
Within this piece I continue to think about memory and horizon lines- the center warp thread of a double cloth, the space where the water meets the sky, the meeting, joining, and departing of spaces and lives. Visually, it references tying a bow [around a figure] as an aid in remembering. In it’s intimate repetition it illustrates a desperate hope of not forgetting.
I amble through the city of San Francisco in search of illuminations: silent monuments bearing subtleties that transform my being in place. My process is an accumulation of labor, historical research, and intuition resulting in a phenomenological and physical conversion. My artworks exhibit the materiality of the urban landscape while being isolated as objects.
Drawing on conventions of trompe l'oeil and the readymade, I use a range of materials and methods to remake ordinary objects such as food items, keychains, remote controls. The resulting sculptures articulate banal aspects of modern life and suggest undercurrents of alienation and anxiety.
It may be to our advantage — as a way of orienting ourselves in our world — to consider the cycles of creation and destruction intrinsic to the objects and materials that surround us. Considering such cycles, I have found that the significance of jewelry lies not only in its relationship to the physical body, but also in its role in our lives. Inheritance focuses on the life of jewelry beyond the body, where it is often a physical marker of abstract ideas, such as lineage, legacy, and favor.
William Erhard Winter
William Winter uses conceptual, spatial, and interdisciplinary approaches to explore conventions and rituals and to investigate the relationship between obsession, escapism, and alchemy. His work employs a variety of media including sculpture, video, painting, mold-making, installation and performance.