Kennedy All Images Courtesy of Sarah Rose Sharp The piece is funny, sentimental, and serious all at once, maintaining a light touch with its potentially problematic content- garbage-strewn, run down neighborhoods, excesses of objects that have outlived their owners and practical usefulness, death itself.Īccompanying “Totems” and “Semi Lucid Steaks” are a playful, sensual floral installation by Lisa Waud, the magical mind behind Hamtramck’s Flower House project, and a light installation by Patrick Ethan, who is also currently exhibiting at Playground Detroit.Ĭharles & Valerie Diker (left) – TMA Director Brian P. Once identified, these piles of distinction are transformed by yet another machine (the documentary film is taken from the machine’s point of view, so only its powerful front incisors are seen- it stacks old tires and charred furniture into imposing piles to an oddly perfect Bach soundtrack) into vertical plinths of stacked garbage assembled in honor of their original owner, “recently deceased friend and neighbor,” in hopes of attracting permanent protection to the vicinity, as well as honoring the inherent power individuals leave behind with their earthly belongings. Mitch Cope, Garbage Totem Scrap-a-House, 2014, C-Print, 30 x 46 Inches While Perron demurs to embrace such New-Age association, as a native Californian, I am entirely comfortable characterizing this group show as deeply cosmic. Perron declares that she had never seen the “Pillars of Creation” before I mentioned it, and the face that a reasonable facsimile has manifested within the CCS Center Galleries seems to me evidence of a higher order in the universe. That this serendipitous combination of very different artists has created such lovely celestial synchronicity seems appropriate, given the show’s theme. Harty’s full-wall installation draws the whole exhibit together, bringing the show into bloom. “Normally you could not get me anywhere near it,” she said. When Harty came on as head of CCS’s glass department, Perron found a previously untapped appreciation for glass as a medium. “The exhibit began with a longstanding interest in Assunta Sera’s paintings, since the 1980s, when I worked at the Michigan Gallery.” An encounter with Sera at a recent CCS grad event triggered a conversation that built into the seed for a show, and a studio visit to review Sestok’s newest “fantastic” body of work brought that seed into sprout. “I didn’t start out trying to make a pretty show,” says CCS curator Michelle Perron, in an interview at the Cass Cafe. Robert Sestok, Anodized Aluminum Sculpture – installation view Using anodized aluminum gives a refined, gold cast to Sestok’s sculptures, more usually roughly rendered in crude iron scrap material, and creates a sense of weightlessness around the crumpled aluminum pillars-large-scale balls of metal stacked into well-balanced totem poles. These groups of (mostly) hanging pieces provide a lovely backdrop to four freestanding sculptural works by Detroit’s own Robert Sestok, which take pride of position in the center of the gallery. Works by New York-based painter Assunta Sera draw directly from celestial events to create abstracted landscapes-or more accurately ‘spacescapes?’-and a full wall installation of spills of glass by Kim Harty touches down onto the floor, unavoidably suggesting the Milky Way, by association. Cosmologies, Installation view – All Images Courtesy of Sarah Rose SharpĪesthetically, the three-person show Cosmologies, which opened at the CCS Center Galleries on January 23 rd and runs through the 27 th of this month, reminds me very much of a Hubble telescope picture series of a formation called formation called Pillars of Creation in the Eagle Nebula-a star-forming region.
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