EMAIL

JP__





Schlechthin Unvergleichlich


Words and curation by Rachel Miller: rachel.r.miller@gmail.com


There is a city where, for the traveler, the shortest distance between two points is not a straight line, but a zigzag that ramifies in tortuous optional routes. A map of this city would include all routes, solid and liquid, evident and hidden.


It is more difficult to fix on the map the routes of the swallows, who cut the air over the roofs, dropping long invisible parabolas with their still wings, darting to gulp a mosquito, spiraling upward, grazing a pinnacle, dominating from every point of their airy paths all the points of the city. - Italo Calvino


Impossible to map, capture, or be known: the map is an impossibility because it is not the authentic topography. But in this suspension, in the dropping and spiraling, all combinations are possible and all points are dominated because the rules (as in writing and other attempted representation) are flouted


James Powers’ immersive topographical ocean, made more potent in frozen, mirrored stillness, moves as we move, runs to the edges, defies capture.


________________


We build things to carry shock and absorb it for us, to be conduits and conveyances. Suspension theory gives us the chassis and her springy geometry to suspend (but not contain) the impact of rocks, roots, dips, drops. - Rockshox Suspension Theory Guide


The city never stops growing, adding a maze of little streets and squares; there are no fixed boundaries to all they might encompass. The body never stops receiving, like a resonating vessel. Stimulation turns inward, is folded into the body, except that there is no inside for it to be in, because the body is radically open. - Ludwig Wittgenstein, Brian Massumi


Kellie Romany’s explosive golds and creamy browns stretch, pooling, giving more, evaporating.


Kathryn Miller’s geometry is unhinged and uncontained, darting, excused from the frame..


________________


The virtual map (more real than the physical, some argue, in its adaptability), has a different temporal structure, in which past and future brush shoulders with no mediating present. Like the body, it crests in a liminal realm of emergence, where half-actualized actions and expressions arise like waves on a sea to which most no sooner return. - Massumi


Kyle Thompson’s floating, rotating rock tempts with the promise of eternal pleasure (a comedy). XYZ coordinates are a guide to making the cloud real.


Lewis Feuer’s swimmer is trapped between waves, floundering, subsumed and spat, suspended.


For his soul was bidding farewell to everything that had been his life, which was now ending, because what could come now, he asked himself, but he only saw waves as the boat cleaved through them, the waves, that was the answer to his question as to what could come, because --- well, what could come; waves, waves, one after another, thousands and thousands, millions and millions of waves. - László Krasznahorkai


23 May - 30 June, 2015


61 Main Street, Andes, NY


JAMES POWERS (front)
Brooklyn, New York
MFA Painting, School of the Art Institute of Chicago, 2011
AB Government, Visual and Environmental Studies, Harvard, 2008

_oce 2 | inkjet on silver mirror | 50 X 38 inches

_win | inkjet on spinnaker fabric | 34 X 24 inches

/ | 2014, emergency rip-stop | 72 X 12 inches

_oce | inkjet, framed mirror acrylic | mono-print | 25 X 19 inches

Breuer Concrete + Ocean | 2014, inkjet transfer on parachute silk | 22 X 24 inches

RACHEL MILLER, JAMES POWERS
Schlechthin Unvergleichlich | plexi, wood, and LED | 50 X 11 X 3 inches

KELLIE ROMANY
Atlanta, Georgia
MFA Painting, School of the Art Institute of Chicago, 2011
BFA Visual Art, Maryland Institute College of Art
, 2008

27, 32, 10 | 2015 | oil on board | 14 x 11 inches

16, 32, 34 | 2015 | oil on board | 6 x 6 inches

13, 24, 34, 35 | 2015 | oil on board | 8 x 10 inches

30, 19, 36 | 2015 | oil on board | 9 x 12 inches


35, 34, 12 | 2015 | oil on board | 8 x 10 inches
7, 34 | 2015 | oil on board | 8 x 10 inches

LEWIS FEUER
Brooklyn, New York
MFA Poetry, University of Massachusetts Boston, 2015
BA Studio Art, Lewis & Clark College, 2009

Annotation/Meditation (Waves) | 2015 | still

Annotation/Meditation (Waves) | 2015 | video, 100 seconds

KYLE THOMPSON
Southern California
MFA Visual Art, University of California, San Diego, 2016
BA Chemistry, Studio Art, Lewis & Clark College, 2009

Rotating Rock (Continued) | 2015 | projection, infinite loop

61 Main Street, Andes, NY