Ann Ginsburgh Hofkin's Intersection (2007) is the only two dimensional work in the show. At first, it even seemed a bit out of place, but the subtle, dimensional references formed by the vertical band in the composition, and the metallic tones od the colors employed made for a futuristic approach to depicting flowers. And because it is so two dimensional. It served as an important contrast to the works that shared the space, which, for the most part, were wall mounted.
The top artist to benefit from the juxtaposition is Katsura Okada. Here, the artist uses bunches of rolled rice paper colored light to deep yellow to form an elongated diamond. The honey comb effect of the clusters of rolled paper, and the colors used made me think of bees, of some other natural form that played well with the work of Hofkin nearby.
Hanging from the ceiling, and in front of the two aforementioned works is Dream Suspended (2006) by Yuki Nakamura. Here we see the most profoundly personal work, a sort of memorial dedicated to the artist's brother, who died suddenly. He was a soccer coach. So Nakamura made porcelain casts of a number of soccer balls, in a variety of inflated, hanging them from and partially inflated, hanging them from the ceiling with colorful electroluminescent wire. The effect is both celebratory and sad, spiritual and pop which makes on think the artist's brother must have been intensely dedicated, yet full of life and humor.
Another whimsical work on the next wall is Garden Variety (2007) by Kathy Marmor. Here, the artist attaches a networks of wires, motors, LED fans and micro controllers that are motion sensitive. When passing by, the fans spin, sending out gentle breezes, and spelling out the words I LOVE YOU. Is it a trap of a loving gesture?
Then we have the multi-colored nylon mesh that fingers back and forth on reverse corner of the gallery by Lisa Cooperman. This piece is titled Boustrophedon, which is an ancient way to write that alternates from left to right, and right to left. Here, and there, the artist places ephemera from some sort of fruity candy packaging that reads like an odd, Pop-ish narrative.
As you near the entrance in the back of the gallery of the outdoor court yard, you come upon two more works: Meg Walker's My Brain Has a Mind of Its Own: Aberration II (2005-2007) and Crit Streed's Speak to Me (2004-2007). Walker's piece looks like a B-movie brain of a cyborg that was ripped out, complete with wacky wiring and mother of pearl pigmented paint, while Streed's framed, projected video shows the artist repeated chanting and drawing over and over, wave-like lines. In both we see an obsessive vision.
Two works by Carol Boram-Hays commands the courtyard. I found Lethe(2007) of particular interest because it spoke of the immediate neighborhoods changing face with its broken, painted cement block and winding, re-bar like rolled,, and rusted cable.
Nice bit of curating, Jill Conner.