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Cornish BFA 2010 - part 1

Glow
The path of my writing is roughly the path of my feet and eyes. Just inside the foyer are Alex Khunprachansri’s intense graphic comic prints - opposite them time-based work where retro effects upon boats, biplanes et al. leave me feeling all Bedknob and Broomstick-y. Dorielle Caimi's stark, meticulous graphite Physiognomy portrait series, the brutally comic oil She Got a Hold of my Lipstick, and the more traditional, nubile maiden of On the Verge show a handling of flesh and face both tender and merciless. As I stood under the shelter of Nicole Rathburn's Kraft paper/wire Husk, I remembered exhorting her on opening night to see Anselm Keifer's Die Welle at SAM. Her piece is like a fragment of his - weathered, curled, and transubstantiated by decay. Cameron Larson's smoothly painted and digitized manipulations of fashion and other advertising images carry veiled hints of his more pornographic debut. This is not to say he pulls punches. He can render in oil as deftly the effects he can 'puterwise:



A Last Attempt at Desperation (archival print) 

Anne Kimble's acrylics (high chroma on black grounds) and prints (paler and earthier) recall venerable antecedents such as Australian Aboriginal paintings, pulsating like jellyfish/mandala hybrids. The abundant prints of Charles Spitzak hark back to 30's and 60's by turns, figures and freewheeling abstractions. The old saw 98% perspiration applies here.

I know better than to be seduced by the sheer gorgeousness of the Black Box space. That said, Cameron Nagashima's Composition series of composited figural photographs, with their silvery devolutions into textile-like abstraction, seduce on their own. Derek Ghormley's exploded Shakeresque box/cage Crooked Mile was at its best on opening night, when a dancer wore it like imprisoning raiment. Its starkness played well against the painterly distortions of John Blackstrom's prints and video and Courtney Sundberg's fragile commemorations with pinhole camera, an antique botanical-laden vitrine, and living flora. Annamarie de Guzman explores nostalgia and heritage with a stack of altered vintage luggage, a delicate dressing table laden with tiny photos, paintings with hints of Rivera, and an immaculate line of proverb-infused votives. The terms immaculate and delicate bring me naturally to Allyce WoodOn fire prolific works too. A huge sprawl of roaming wolves in cord and pushpins vying with bustly etched paper feathers in a voluptuous spray opposite, and a profusion of prints spilling beyond her official space.



Detail of Collected, Trussed 

Nearby, Sandra Elizabeth's misty, fine-lined drawings and prints wed Western perspective to a consciousness of negative space reminiscent of Chinese landscapes, and her two large cat portraits (installed in the front stairwell) commemorating critters in need of adoption are simply endearing, and speak to my own kitty love, and larger concerns about letting nothing be discarded or forgotten. A propos, while this is merely chapter 1, I'm sure any forgetfulness on my part will be remedied by several folks I know are itching to read these missives. 

More to come. 

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