Fawn Krieger

MORSEL GALLERY IS PLEASED TO ANNOUNCE THE OPENING OF

TRANSUBSTANTIATION
April 29th-June 5th, 2005
Curated by Michael Krumenacker

Opening Night: Friday, April 29, 2005
7 - 10 pm

Morsel Gallery
81A Olive Street
Brooklyn, NY 11211
718-963-2309
www.morselgallery.com
Hours: 12 - 6 Saturday & Sunday or by appointment
Contact: Jan Mollet, Gallery Director: jemollet@yahoo.com
Or Michael Krumenacker, Curator: krumey@yahoo.com

1. conversion of one substance into another
2. the doctrine holding that the bread and wine of the Eucharist are transformed into the body and blood of Jesus.

Although the concept of transubstantiation has deep roots in the Catholic Church, its history is much older. It is linked to alchemy, and has been considered a metaphor long associated with the making of art. The six artists here are linked more for their differences rather than their similarities. I am emphasizing differences in order to explore a wide varying approach to the physical act of manipulating inanimate material, not just to illustrate an idea or concept but also as a sort of repository for their particular unique sensibilities.

Jennilie Brewster constructs painting surfaces out of brown bags and pieces of butcher paper. The folds and overlapping edges form broken grids, which become both foils and scaffolds for her neo-Romantic sea and landscapes.

James Bills sculptures refer to the polyhedral dice used in role-playing games such as Dungeons & Dragons. He is interested in how different solids generate odds that correspond to varying degrees of difficulty, a bizarre one-to-one correlation between geometry and fate.

Douglas Goldberg's small alabaster sculptures are derived from traditional sacred tomb sculpture. Each work is a memorial to the individual syllables of the Buddhist mantra "Om Mani Padme Hum", announcing the death of one of these emotions as a means to a purer state.

Challenging expectations of scale, Fawn Krieger's idiosyncratic sculptural installations explore spatial contradictions that merge distance with intimacy and isolation with exposure. Using mass-produced building materials, these structures are lodged both in the world of formal inquiry and personal narrative.

The paintings by Nicholas Knight are created by applying a specific formulation of a rule of tangents and arcs to a blank panel. This formulation essentially directs the artist's hand at any given point on the surface.

Abraham McNally uses a variety of familiar materials and structures --from lumber and cement to tents and sleeping bags-- to make sculptures that examine isolation, personal history, security, and sense of place.



	MORSEL GALLERY IS PLEASED TO ANNOUNCE THE OPENING OF TRANSUBSTANTIATION April 29th-June 5th, 2005 Curated by Michael Krumenacker Opening Night: Friday, April 29, 2005 7 - 10 pm Morsel Gallery 81A Olive Street Brooklyn, NY 11211 718-963-2309 www.morselgallery.com Hours: 12 - 6 Saturday & Sunday or by appointment Contact: Jan Mollet, Gallery Director: jemollet@yahoo.com Or Michael Krumenacker, Curator: krumey@yahoo.com 1. conversion of one substance into another 2. the doctrine holding that the bread and wine of the Eucharist are transformed into the body and blood of Jesus. Although the concept of transubstantiation has deep roots in the Catholic Church, its history is much older. It is linked to alchemy, and has been considered a metaphor long associated with the making of art. The six artists here are linked more for their differences rather than their similarities. I am emphasizing differences in order to explore a wide varying approach to the physical act of manipulating inanimate material, not just to illustrate an idea or concept but also as a sort of repository for their particular unique sensibilities. Jennilie Brewster constructs painting surfaces out of brown bags and pieces of butcher paper. The folds and overlapping edges form broken grids, which become both foils and scaffolds for her neo-Romantic sea and landscapes. James Bills sculptures refer to the polyhedral dice used in role-playing games such as Dungeons & Dragons. He is interested in how different solids generate odds that correspond to varying degrees of difficulty, a bizarre one-to-one correlation between geometry and fate. Douglas Goldberg's small alabaster sculptures are derived from traditional sacred tomb sculpture. Each work is a memorial to the individual syllables of the Buddhist mantra "Om Mani Padme Hum", announcing the death of one of these emotions as a means to a purer state. Challenging expectations of scale, Fawn Krieger's idiosyncratic sculptural installations explore spatial contradictions that merge distance with intimacy and isolation with exposure. Using mass-produced building materials, these structures are lodged both in the world of formal inquiry and personal narrative. The paintings by Nicholas Knight are created by applying a specific formulation of a rule of tangents and arcs to a blank panel. This formulation essentially directs the artist's hand at any given point on the surface. Abraham McNally uses a variety of familiar materials and structures --from lumber and cement to tents and sleeping bags-- to make sculptures that examine isolation, personal history, security, and sense of place.




	Extension, considered independently; that which makes extended objects conceivable and possible. A period of time; its duration.A limited extent in one, two, or three dimensions. A particular area or cavity within the body. To separate or keep apart. Reserved or available accommodation. To walk; to rove; to roam.To arrange or adjust the spaces in or between; as, to space words, lines, or letters. Webster's Revised Unabridged Dictionary, © 1996, 1998 MICRA, Inc.

	The installation included at Morsel Gallery is comprised of two elements; Space Beyond on the wall, and Space Among on the floor. Within each element are small-scale works completed over the past nine months. These works serve as the remainder of or testament to my thinking process, referencing sculptural studies or sketches. They are essentially, what happens in my studio as I build larger structures, grabbing scraps on the floor to work out a fast idea or impulse. This direct and immediate process is a way for me to refine my practice of both thinking and of making, while it also serves as urgent distraction and indulgence. Referencing the artificiality of projection and expectation, this installation imposes structures onto a perceived wild and untamed landscape, aligning unlikely associations of natural systems, modes of reflection, and boundaries of space. Alone, the small-scale sculptural studies address physical intimacy and spatial seclusion. Placed against an allusion to vast space, these works speak simultaneously of distance and expansion, exposure and limitlessness. The installation serves as an intermediary space for me, one between nature and civilization, prospect and manifestation, and between reality and dream. When does revealing become revelation? How can we make more space by occupying it? This series of work is a meditation, not on located absences but on the perception and potential of opportunity within space.
	Space Beyond 2005 digital study for wall installation
	Space Among 2005 digital study for floor installation

	Transubstantiation, Morsel Gallery installation images, clockwise from top left: Space Beyond, Fawn Krieger Space Among, Fawn Krieger left; Fawn Krieger, right; Jennilie Brewster left; Abe McNally, middle; James Bills, right; Fawn Krieger