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| Mimi installs ABACUS |
The core of Mimi Peterson's art-making stems from a "hunt, gather, build" primitive instinct.
Mimi is an assemblage maker. She puts disjointed objects and materials together to make one piece, to tell one story, to make a whole, to create two-dimensional and three-dimensional art.
Like our 21st Century hybrid culture, she explores conceptual contrasts between abandonment and neglect, belonging and detachment, chaos and order.
"Abacus" is an example of these dualities. In the process of combining fragmented industrial relics and scarred natural materials, the stuff is assigned a new identity within a new context to establish an intangible idea as a tangible object. The piece talks about a "global warming countdown".
Mimi means to expand our notions about cultural and environmental issues and to find some relevance in the aesthetics of their imperfections.
Peterson's use of dissonant and arbitrary materials has the emotive capacity to reinforce her
existential perceptions, yet the completed works exist on a spectrum
rather than as opposites.
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| ABACUS |
ARBITRARY VALUES
The 3-D 12 Sculptors explore diverse materials in search of the sheer richness of it’s color - innate or imaginary - in relation to the design culture of three- dimensional art.
Each of us relates to color instinctively to engender a physical identity that bears little resemblance to conventional sculpture. The rusted patina maximized in the work of Steele and Peterson reminds us of the cyclical nature of abandonment and decay associated with time. Kamhi’s metallic beads smack of urban sophistication. Earthy tones and organic shapes bring life to the work of Gilchrist and Gray. Ho, Hicks and Stone favor intense primaries to challenge our emotions.
The exhibition serves as democratized platform for our ideas. These arbitrary ideas are a synthesis of our individual experiences. They immerse us in our craft and provoke our approach to innovative art making.
Mimi Peterson 2015
The 3-D 12 Sculptors explore diverse materials in search of the sheer richness of it’s color - innate or imaginary - in relation to the design culture of three- dimensional art.
Each of us relates to color instinctively to engender a physical identity that bears little resemblance to conventional sculpture. The rusted patina maximized in the work of Steele and Peterson reminds us of the cyclical nature of abandonment and decay associated with time. Kamhi’s metallic beads smack of urban sophistication. Earthy tones and organic shapes bring life to the work of Gilchrist and Gray. Ho, Hicks and Stone favor intense primaries to challenge our emotions.
The exhibition serves as democratized platform for our ideas. These arbitrary ideas are a synthesis of our individual experiences. They immerse us in our craft and provoke our approach to innovative art making.
Mimi Peterson 2015
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| Show poster by Erik R. Peterson |
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| Alan Emerson Hicks talks about his work. |
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| Beth Kamhmi provides instruction. |
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| Eric Steele installs. |
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| Beth Kamhi installs. |
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| Peter Gray installs. |
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| Michelle Stone entranced. |
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| The gathering. |
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| The work of Peter Gray. |
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| The gathering. |
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