Fri, 01/18/2013 - 6:30pm - 8:30pm
[Opening / Closing]
SAPIOSEXUAL: an exhibition program in parts PART 1 - Jeremy Flick / Ian Jehle / Brandon Morse
Where |STUDIO 1469
1469 Harvard Street, NW - REAR
Washington, DC 20010
About This Event
SAPIOSEXUAL: an exhibition program in parts
PART 1 - Jeremy Flick / Ian Jehle / Brandon Morse
Public Reception: Friday, January 18th, 6:30 – 8:30.
Closing Event: Saturday, February 2nd from 6 – 8 pm.
Gallery Hours: Fridays 12:00 – 6:00 pm. and Saturdays 3:00 – 6:00 pm. Also by appointment.
WASHINGTON, DC –Studio 1469 with Dot Projects + Artwork is thrilled to present new work from local visual artists Jeremy Flick, Ian Jehle, and Brandon Morse in this first installment of the exhibition program Sapiosexual.
SAPIOSEXUAL: “A form of sexual orientation characterized by a strong attraction to intelligence in others, often regardless of gender and/or conventional attractiveness.”
Why are we attracted to what we are attracted? There is a certain fascination to what has been coined in the popular media, as the rules of attraction. Sapiosexual presents visual work, which boldly claims certain intelligence as the primary curatorial interest in each of the three artists’ practice. In seeing the work on the walls and on the floor, imagine Flick, Jehle, and Morse having a stimulating conversation. There is a sharp thought process and a seductive precision in the body of work of all three artists. Each’s approach to creating artwork comes from an orderly and structured base, then confidently letting the outcome be what it will. While Flick works in paint, Jehle in pencil and ink, and Morse in code, all create art that is brainy and slinky, with an emphasis on flawless technique, which equals really sexy artwork.
For this exhibition, Jeremy Flick will juxtapose two distinct but similar projects. In Anderson Loops, sequences of instructions in a computer program loop endlessly, either due to the loop having no terminating condition, having one that can never be met, or one that causes the loop to start over. This work of single channel videos explores the nature of text and language by presenting infinitely looping fragments of karaoke tracks. Additionally, in his series of works entitled Contrapuntal Derivations, Flick creates meticulous geometric paintings/installations based upon work derived from the found, crude, low-quality digital patterns of "web-tiles." The selected paintings included in Sapiosexual reflect Flick's interest in researching and exploring alternative sources for abstraction and allow for an expanded dialogue of the relationship of traditional and digital image making while exploring contemporary notions of the decorative.
Ian Jehle’s large-scale pencil drawings of friends, colleagues, and acquaintances examine personality from the second person perspective. A combination of photographs form the source for his subtly executed pieces, a process which highlights how isolated impressions combine to form our notion of who a person is. Jehle cobbles together disparate images into what is in one sense an idealized pastiche and yet reads as a fully integrated, "whole". By portraying those close at hand, these larger-than-life portraits present the viewer back to him/herself. The public setting further complicates our understanding of who is holder of the gaze. For Sapiosexual, the artist has created two an-of the-moment pieces entitled Control and Release. Focusing on perspective, Jehle subverts the usual invested gaze and imagines the viewer as abstract media, as if we are the tv looking back.
To Sapiosexual, Brandon Morse contributes a two-channel generative video piece incorporating sculptural elements. Morse’s work uses software technology, which through generative processes, references natural phenomena. In The Shadow of the Valley of Death is an examination of geological processes and their implications on the landscape. Through the use of algorithms implemented in code, as well as digitally-derived sculptural practices, the piece looks at how physical phenomena such as erosion, subduction, and accretion are continually shaping our environment on a global scale.
ABOUT THE ARTISTS
Working in Washington, DC, artist Jeremy Flick is known for his complex works of geometric abstraction, which employ repetitive forms, intricate patterns, meticulous details, and purposeful deficiencies to create visually complex paintings, drawings, and installations. His conceptual works maintain a formal approach, characterized by the collection, transformation, manipulation, and fragmentation of found patterns. Flick received his BFA from the University of Cincinnati (Cincinnati, OH) and his MFA from the University of Maryland (College Park, MD). In addition to being included in numerous private and academic collections, he has exhibited extensively with recent exhibitions at Arlington Arts Center (Arlington, VA), (e)merge art fair (Washington, DC), Conner Contemporary Art (Washington, DC), Runnels Art Gallery (Portales, NM), and Museum Gallery/Gallery Museum (Cincinnati, OH), among others.
Ian Jehle, who is based in Washington, DC, creates outsized drawings, which, In Jehle's words, ask whether a portrait is "an act of impertinence or tenderness or more likely something in between?" Jehle's solo exhibition Here's to You at Gallery-ef in Tokyo opened in November 2007. His recent group exhibitions include Me, You and Those Other Folks at Flashpoint Gallery, Washington, DC; Works on Paper, curated by Carter Foster of the Whitney Museum of American Art, at Long Beach Foundation of the Arts, NJ; the Artscape/Baltimore Museum of Art Juried Exhibition, 2005, curated by the BMA's Gary Simmons and Darsie Alexander; and Traveling with Gulliver, a group exploration of Gulliver's Travels, at the District of Columbia Arts Center. Jehle received his BFA from American University and his MFA from Columbia University.
Brandon Morse is a Washington, DC based artist who works with generative systems as a means to examine the ways in which physical phenomena such as entropy and emergence can be simulated within the computer to serve as metaphor for broader social and political issues. Morse has shown his work in video, video installation and sound art in museums and galleries across the United States, Europe, and Asia including the Nanjing Museum, the Frankfurter Kunstverein and the Corcoran Gallery of Art. His work has been reviewed in The Los Angeles Times, The Washington Post, LA Weekly, and Art in America. He is an associate professor of Digital Media at the University of Maryland.
ABOUT STUDIO 1469
Studio 1469 (www.studio1469.com) is a newly constructed studio, designed and created with multi- disciplinary uses in mind. The space is both a blank slate and a ready to use opportunity for rehearsal, instruction and creation. Gallery style lighting along with abundant natural light, combined with reinforced soundproof walls enables both choir or painter, ensemble or shutterbug to make things happen within this secluded yet wonderfully situated building. Over a century old, originally built as stables and storage for the neighborhood grocer, Studio 1469 emerges again to serve the community, now via artists, performers, thespians & musicians within The District and beyond. Studio 1469 is located just northeast of the intersection of 15th and Harvard Street NW, adjacent to the nexus of Adams Morgan, Mt. Pleasant and Columbia Heights, conveniently 2.5 blocks from the Green & Yellow line Columbia Heights Metro.