By Show and Tell
By Bree Davies
By Bree Davies
By Cory Casciato
By Emilie Johnson
By Robin Edwards
By Bree Davis
By Josiah M. Hesse
In his current exhibit at Spark, FRAMED (the light and dark of it), Bernier continues with the wall sculptures he first showed at Singer Gallery last year. In these, he combines words made of wooden letters with found objects that refer back to the words. Like those earlier efforts, the new ones are hieratic, giving them a devotional flavor reminiscent of altars. But there are some subtle differences, including the introduction of photo elements as key components, as in the title piece, for which Bernier assembled a lineup of old family photos. Also new-ish is the use of asymmetrical compositions. In "Forked" (above), the sculpture is essentially symmetrical in overall shape, but with lots of asymmetrical elements.
Though a solo, FRAMED has been hung with another solo, CROSSWALKS, that features recent paintings by Madeleine Dodge. The two shows have been installed in alternates, with a Bernier, then a Dodge, then another Bernier, and so on. I've said before that the Spark artists have had a hard time figuring out how to use their awful space, but this particular approach (which has been tried before) surely represents a failed attempt to deal with the problem.
I'm not sure when it happened, but Dodge has shifted stylistic gears big-time. For CROSSWALKS, she has moved away from the figural abstraction that she's done for many years and toward a minimalist approach that relies exclusively on straight lines.
Both FRAMED and CROSSWALKS run through November 12 at Spark.