Adornamental

February 16, 2010 |

Adornamental—an art exhibition featuring the work of seven artists who are breaking new ground in the decorative and ornamental arts—will be presented at Goucher College’s Silber Art Gallery from Tuesday, February 16, through Sunday, March 28.

This exhibit, which is free and open to the public, can be viewed Tuesday through Sunday from 11 a.m. to 4 p.m. An artists’ reception will be held Thursday, February 25, at 6 p.m. in the Silber Art Gallery in the Athenaeum. Call 410-337-6477 for more information.

At times considered primarily feminine and removed from fine art, the decorative arts began to achieve an elevated status in 1975, with the creation of the Pattern and Decoration Movement. Contemporary artists continue to employ decorative and ornamental aspects in their work, demonstrating pattern as a tool for expression and showing that there is no distinction between fine art and decorative art.

Liz Ensz designs politically themed patterned spaces inspired by the floral motifs and geometric structure typical of religious architecture and decorative art. Her installations are intended to be spaces for reflection and concentration. The viewer is drawn in and calmed by the beauty of the mesmerizing pattern, then compelled to engage with hidden religious and political imagery.

Stephanie Liner uses decorative fabric, sewing techniques, and upholstery to create vehicles for human interaction. Her sculptures explore the relationship between domestic space, furniture, and sexuality, and they address how our culture impacts and is shaped by women, their various social histories, and their functions.

Xavier Schipani’s work illuminates the idea that gender, sexuality, and identity are limitless abstract ideas that are influenced by religion, history, and discovery. She is interested in pushing her viewer to accept all extremities of gender and reject the simple binaries to which we have grown so accustomed.

Piper Shepard has long been interested in the patterns and ornament found in cloth and architecture. Her textile pieces make connections to windows, screens, or curtain walls, and they work with plan view and topography. In her sited works, she hopes to draw visual connections between textiles and these structural references.

René Treviño uses historic photographs as source material for his drawings and paintings. Photographs are presumed to be truthful and accurate documentation, but the camera lies as much or more than people do. In transforming these photographs, Treviño attempts to reconstruct, re-imagine, and retell history from a different, very specific, and underrepresented perspective.

Emily Uchytil’s Intimate Scenes are a glimpse into the sanctuaries that people create from their environments. The warm oil colors, the detailed focus, and the use of natural light provoke a sense of comfort and moodiness—a contrast to the loneliness and isolation suggested by the solitary human forms and sentimental scenery. Each painting is saturated with pattern; every surface holds a different decorative motif. These paintings peek into the comforts that we create in our surroundings and the moments we inhabit in our environments.

Kelly Walker’s mixed-media paintings are heavily influenced by the decorative arts. A professional faux finisher, Walker’s imagery reflects a love of texture and layering mediums. Her recent works respond subtly to the creative groove of patterned embellishment while sneaking uncommonly used materials into the realm of fine art.