july 17 - september 5, 2015
Sandler Hudson Gallery is pleased to present Summer Salon. We are celebrating our artists this summer with a group exhibition! Come view works by the ten SHG artists recently acquired by the High Museum of Art and works by some of our newly represented artists.
Ryan Coleman, Don Cooper, William Downs, Margaret Fletcher, HENSE, Michael T. Hensley, Medford Johnston , Gary Komarin, Mark Leibert, Elizabeth Lide, Susan Loftin, Donna Mintz, Mario Petrirena, Michael Reese and P. Seth Thompson
Pam longobardi / threshold
JULY 17 - SEPTEMBER 5, 2015
A solo exhibition of new works by Pam Longobardi in our back gallery (shown in conjunction with our Summer Salon).
I am a conceptual artist with a strong affinity to materials and process. My practice involves site-specific installation and studio-based production. Collectively, both these aspects of my practice explore the Anthropocene as a condition of our contemporary existence. In 2006, after discovering the mountainous piles of plastic debris the ocean was depositing on the remote shores of Hawaii, I began collecting this plastic as my primary material and conceived of the Drifters Project. The Drifters Project centralizes the artist as culture worker/activist/researcher and employs forensics as an aesthetic mode of inquiry. In approaching the sites as a forensic scientist, I am identifying the evidence of what could be perceived as a crime against nature, plastic in all its pernicious ubiquity. To balance and interpret the Drifters Project work, I engage in studio production of paintings.
My studio production includes paintings on copper and on paper. The paintings create self-contained universes where I attempt to visualize a future point where the Anthropocene may be clearly read through the paintings’ materiality. The most recent works reveal large, connected energy systems punctuated by the minutia of a microscopic lens, continuing my investigation of the problematic psychological relationship between humans and the natural world while simultaneously suggesting an interconnected fate. I utilize the genre of landscape painting to suggest future worlds that warn of a threshold of immense change, often depicting colonization and escape. Suggestions of buildings, factories and cities are minimized and fossilized in a future geologic layer. Miniature and solitary human figuration exists in caves and on isolated promontories.