Looking at this season of spring gallery shows, we are reminded that art is all at once political, speculative, and personal. At the top of our list are interesting curations: Jeremy Okai Davis presents work by his contemporaries at Nationale, and Morgan Ritter pairs up painstaking hand-punctured cotton abstracts by Ash Wyatt with Jean Isamu Nagai's textured landscapes at ARTspace. The interdisciplinary cohort show of past and current gallery workers at PDX Contemporary feels full of subdued and idiosyncratic connections. Solitary shows, that caught our eye skewed more conceptual, like Ido Radon's suspension of computer server parts from the ceiling of ILY2. And there's so much more to say about what we saw:
Work After WorkÂ
Too often we shy away from the reality that artists have day jobs or work in the art sector behind the scenes. Between shifts and sleep, many employees who work in the arts are also artists themselves. This group show brings together past and current gallery workers at PDX Contemporaryâshowcasing their talent, vision, and creativity, via painting, photography, and sculpture. (PDX Contemporary, 1881 NW Vaughn, through March 30, pdxcontemporaryart.com)
California, Ido Radon
Modern technology collides with the natural realm, all across Ido Radonâs solo exhibition. Using materials such as solar panels, recycled PC cases, and cabinets, Radon forged sculptures intertwined with organic substances like rabbit fur. There's a sculpture dangling from the gallery ceiling above a mirror, like an inverted city of Kandor or a miniature Castle Said to Hold Eternity. Is the mirror the way to view "Server," stuck starkly above? An installation of nylon ropes, wires, and bamboo beads intermingle and dangle suspiciously on the wall nearby as if you're invited to climb up there for a closer look. (ILY2, 925 NE Flanders, through Sat March 30, ily2online.com)Â
MĂŠlange, curated by Jeremy Okai DavisÂ
Accomplished illustrator and graphic designer Jeremy Okai Davis has been guest curating a group exhibition of his contemporaries in Nationale's project room for a week in February and all of March. His introductions include: Rebecca Borazâs woodcut prints of figures embracing, Maria Britton's cascading watercolor draperies that hang suspended in motion, Anthony R. Grant's bold graphics, text, and photos in dynamic collage, and Chris Lael Larsonâs ambiguous paintings, which still manage to conceal representational elements within their vivid kaleidoscopic shades. (Nationale, 15 SE 22nd, through Sun March 31, nationale.us)
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