Stewart is an emerging artist originally from Wisconsin who has spent time at the Kansas City Art Institute and the University of Minnesota. He has gotten a lot of traction with his installations made up of suspended forms, but the show at Plus is different. Zeile has observed that walking into the show is like entering a three-dimensional map of the New York subway system, and I can see what he means: the hard-edged red lines run like train routes coming down off the walls and across the floors to link the individual sets of drawings to the specific sculptures they inspired.

The different groupings of drawings and sculptures are very similar, even if they have scores of perceivable differences between them in their many details. And they don't progress from one to the next — at least as far as I could tell.

The drawings, which are hung in discrete clusters, feature linear patterns made up of the same set of forms repeated over and over, mostly simple circles. The sculptures share the same vocabulary of forms, but instead of ink or graphite, they're made from industrial materials including twist ties and O-rings, both made of plastic. Each sculpture is on a shallow plinth painted a bright color. Despite the clear interconnection between the drawings and the sculptures, they are separable, as demonstrated by the fact that each element has been individually priced on the exhibition checklist.

Installation view of "Childsplay," by Kim Ferrer, wood and metal.
Installation view of "Childsplay," by Kim Ferrer, wood and metal.
"Pressure Drop," by Wendi Harford, paint on canvas.
"Pressure Drop," by Wendi Harford, paint on canvas.


Through September 5, Ironton Studios and Gallery, 3636 Chestnut Street, 303-297-8626, September 3, Walker Fine Art, 300 West 11th Avenue, #A, 303-355-8955, August 28, at Plus Gallery, 2501 Larimer Street, 303-296-0927,

View a slide show of these exhibits at

The drawings are lacy, and the resulting sculptures are insubstantial both because of the lightweight materials Stewart uses and because there's a lot of air in them, with the plastic shapes creating skeletal structures. They're about the translation of one system, lines on paper, to another, lines in space, which brings up similarities and differences between the two. Because the installations, which comprise both types, are constructed of formally identical repeated elements, Stewart's creations conceptually link up with contemporary ideas about pattern-building and fractals.

The Harford, Ferrer and Stewart solos each have their own appeal, and nothing really links them together. Nothing, that is, except that each is a snapshot of what's happening right now in the art world.

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