October 10, 2013 – November 22, 2013
INCLINE Gallery is proud to present SPACE: 1999, a group exhibition featuring the work of Randy Colosky, Chris Fraser, Sandra Ono and Dean Smith. SPACE: 1999 is a reference to a short lived science fiction program in which the protagonists were occupants of moonbase Alpha. Following a massive nuclear explosion the moon, its inhabitants were hurled into deep space and “represented present-day Earthmen cast adrift in a vast, unexplainable universe where Earth-bound logic and the laws of nature no longer operated.” The desire to make sense of this unexplainable universe creates the basis for the exhibition, and a jumping off point for much of the work included. Each of the artists involved uses everyday materials in innovative ways to explore and explain the mysterious and beautiful, whether it is the experience of the human body, the properties of light, or the reimagining of utilitarian materials. For SPACE: 1999 INCLINE Gallery is transformed through site specific installation and becomes a platform for the exhibiting artists to showcase their individual explorations.
For SPACE: 1999 Randy Colosky continues his experiments with commonplace materials and the possibilities of transformation through repetition and repurposing. Taking themes from physics and metaphysics Colosky challenges the boundaries of form and material by treating the utilitarian with a reverence that endows these materials with a sense of wonder and new life.
Chris Fraser transforms the ramps of INCLINE Gallery into a spectacle, exposing the unseen phenomena that exist within the space.
Sandra Ono’s mixed media installations explore the experiences of the human body through the manipulation of everyday objects. By the accumulation of mass Ono’s installations develop into human landscapes resembling internal organs and microscopic views.
With work that transits between object, event and symbol, Dean Smith explores the aesthetics of wonder: the ceaseless human impulse to render the invisible visible. By investigating dichotomies such as geometry/biology, expansion/contraction, concrete/speculative, micro/macro, his work conflates these distinctions creating paradoxical conjunctions of opposites, and by doing so dissolves the boundary between the lyrically poetic and coolly objective.