Series and Repetition
Juried by Yulia Topchiy
Echoes of Repetition: The Paradox of Creativity
In curating "Echoes of Repetition: The Paradox of Creativity," we delve into the profound impact of repetitive elements and sequence in art. Repetition has been a central theme throughout art history, from the rhythmic patterns of ancient Greek pottery to the mesmerizing geometric configurations of Islamic art, and the meditative brushstrokes in East Asian calligraphy. In the 20th century, artists such as Andy Warhol and Yayoi Kusama harnessed repetition to both celebrate and critique mass production and consumer culture, while minimalist artists like Donald Judd explored the purity of form through seriality. This online exhibition brings together a diverse array of works by thirty nine artists that harness repetitive techniques to explore and evoke a range of ideas and emotions. Through the lens of repetition, these artists offer us a window into their worlds, inviting us to reflect on the cyclical nature of existence, the complexity of human experience, and the beauty of the natural world.
"Echoes of Repetition: The Paradox of Creativity” celebrates the versatility and power of repetition in art. Each work in this exhibition demonstrates how repetitive elements can change simple forms into profound statements and transform familiar scenes into spaces of infinite exploration. We invite you to engage with these pieces, to find your own connections and interpretations within the patterns and series presented, and to experience the echoes of form and thought that reverberate through this curated collection. The effect of repetition in this curation not only highlights the beauty and complexity of nature, emotional and sensory experiences, abstract explorations, and personal narratives, but it also sheds light on societal issues and critical reflections.
Wall 1
Gabriella Mirabelli / Yen Ha / Meredith Nemirov / Sonia Slavtcheva / Jeni Bate / Susan Bennerstrom / Cam Cline / Trine Bumiller / Vicky Stein / Julianne Coates
Nature's recurring patterns and rhythms find vivid expression in this collection. Gabriella Mirabelli’s dynamic depictions of light and water, Yen Ha’s expressive gestural storms, Meredith Nemirov’s intricate interpretations of natural processes inspired by poetry, and Sonia Slavtcheva’s ethereal explorations of light and seasonal changes highlight the beauty and complexity of the natural world. Jeni Bate’s refractured watercolors, enriched with haiku, capture the transient beauty of dawn, urging us to appreciate the fleeting moments in life. Susan Bennerstrom’s ink and coffee explorations of natural forms provide a meditative retreat, while Cam Cline’s vibrant acrylic depictions of forest scenes envelop us in the serene yet dynamic essence of the wilderness. Trine Bumiller, Vicky Stein, and Julianne Coates contribute to this theme with their unique interpretations, reminding us of nature’s persistent cycles and our intertwined existence within these rhythms.
Wall 2
Lauren Cassidy / Heath Wheeldon / Heather Brown / Sally Blair / Jeanne Heifetz
Emotional and tactile experiences are vividly captured through the power of repetition. Lauren Cassidy’s "Meditations" and "Prelude in C Minor" integrate music and visual art, transforming static images into multisensory experiences that speak directly to the soul. Heath Wheeldon approaches art through the listening experience as well as his interaction with the music, applying different color stages over and over until the satisfied result. Heather Brown’s vibrant and expressive works explore the emotional depths of color and form, while Sally Blair’s pieces challenge viewers with their intricate patterns and textures, engaging both the eye and the mind. Jeanne Heifetz’s Mottainai series and the imagery of mending and repair evoke a sense of regret yet a force for rebuild and rejoy. Together, these artists create a rich tapestry of emotional and sensory experiences that draw viewers into a deeper understanding of their own perceptions and feelings.
Wall 3
Meryl Blinder / Candace Heidenrich / Su Kaiden Cho / Jacqueline Ott / Brittany Gilbert / Beverly Frey/ Ziyi Huang / Katya Kim Holmes / Amanda Kralovic / Carol Ladewig / Christopher Squier
Collage, Assemblage and photomontage has also been at the forefront of social-political critique and satire in art throughout the 20th and 21st Century. In this arena we will focus mainly on social critique from a feminist position bringing together in a group of works from photomontage, collage, assemblage of found objects, textiles and mixed media painting. Visual cues that show up in these works highlight a vast community of female artists from as far back as the German artist Hanna Hoch, to wry conceptual artist Martha Rosler who rose up in the 1970s and 1980s along with the iconic Barbara Kruger and then with British-Turkish artist Tracey Emin into the 1990s until today Significantly, in the past couple of decades we have seen a rise in the use of collage and assemblage amongst black female artists with such luminaries as Ellen Gallagher, Lorna Simpson, Mickalene Thomas, Deborah Roberts and installation artist Abigail DeVille. Culling from archival material, or media imagery, these artists often collage and overlay historical narratives onto the present day as forms of hommage, critique, or re-inscriptions of vital yet forgotten women’s stories. Often these works act as reminders of long-held racist positions that continue to oppress women of color.
Rachel Thomas’s University of Alabama (1965) and University of Louisville (1950s) highlights the very first black students to attend University (a predominantly white setting at the time), linking her own experiences in Higher Education to that of previous generations. Doctoring the vintage photos so that the black students are front and center, she highlights a moment in the not-so-distant past when black students were hardly present in these spaces, especially in the South. Parker Reinecker also revisits black history with Liberty and Crown + Scepter Club with archival imagery and photomontage narratives, considering the racial power struggles and class hierarchies that are so pronounced in these images. South African artist Marion Holmes creates mixed media/painting collages Soweto and Matriarchs, to honor Afro-centric memories of connections to place and community. The choice to render the faces anonymous leads one to wonder if this hints at the privacy needs over social media in protecting families and preventing exploitation, a contentious issue related to our current reality in digital spaces. Melissa Gamez creates a satirical photomontage series using elements from Ernst Heackel in “Oh darling how lovely, I have always wanted you to control” and “I just love packing up my autonomy and independence”. The series is intended as a critical response to the absurd overturning of Roe Vs. Wade and speaks to the ‘increasing attempted control over women’s reproductive rights. Sierra DeVuyst creates a collage of textile and quotational text to reflect that rise of misinformation, pseudoscience and myth propagated through the internet in past years and that may not be based in reality. Her use of canvas and paper scrap-collage to create topsy-turvy lettering emphasizes the hand-spun, somewhat unstable nature of these utterances.
Wall 4
RT Livingston / Kim Moore / Elzbieta Zdunek / Matthew Thorley / Kelley Simons / Tamar Zinn
The exploration of identity and personal experience is poignantly illustrated through works like RT Livingston’s "Identity Crisis" series, where fingerprints serve as unique markers of individuality within repetitive patterns. Kim Moore’s "Kintsugi," "Hole/Healing," and "Glued Back Together" reflect her personal medical journeys through the delicate mediums of cyanotype and embroidery, emphasizing the interplay of fragility and resilience in human life. Elzbieta Zdunek’s textured layers and intricate dreamy collages depict stories of identity and transformation, while Matthew Thorley’s pieces explore self-perception using his own body in the process of making art, pushing boundaries between physical and abstraction, creating a dialogue between the self and the artwork. Kelley Simons’ minimalist yet powerful graphite works incorporate body fluids that help depict and distill complex emotional states into simple, evocative compositions. Additionally, Tamar Zinn’s contributions enrich this exploration of personal narratives.
Wall 5
Thomas Crawford / Sally Smith / Sean Livingstone / Lake Newton / Joseph Ni / Howard Pohl / Svetlana Rabey
Conceptual narratives are also integral to this exhibition. Thomas Crawford’s digital prints, Sally Smith’s unconventional materials such as vintage light switch covers, and Sean Livingstone’s recreated crossword puzzles use repetition to comment on industrialization, forgotten symbolism, environmental degradation, and societal impacts. Lake Newton’s series further highlights these themes. Joseph Ni’s series of prints ponder the heritage of aesthetics as it reflects the inheritance of values, where forms of figures, Chinese artifacts, and interiors meld together. Howard Pohl’s photographs, capturing scenes like identical statues gathered in an empty field, explore the concept of time and memory through repetitive patterns and structures, while Svetlana Rabey’s intricate and delicate beaded drawings reflect on cultural heritage and identity, influenced by her intense dance training and Russian émigré heritage. These works underscore how repetition can illuminate ongoing issues and provoke critical reflection.