Fri February 28, 2020
Proof by Thomas Heinser & Now That My Ladder's Gone by Deirdre White
SEE EVENT DETAILS
ampersand international arts is thrilled to announce two solo exhibitions opening Friday, January 31st, 2020 6pm-9pm, welcoming back curator Tracy Wheeler featuring Proof by Thomas Heinser & Now That My Ladder's Gone by Deirdre White. With a loose thread of human evolution connecting them, Heinser's photographs & White's paintings each create windows into a possible past, present & future of the world.
Proof
Photographic installation by Thomas Heinser
Susan Sontag famously wrote, "All photographs are memento mori. To take a photograph is to participate in another person's (or thing's) mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time's relentless melt." Thomas's Heisner's photographic installation, Proof, points to a slightly different conclusion. By showing 330 images of people of all ages (some of whom are the same person at different ages) time doesn't so much melt as slip and slide, swoop and circle. Photographing his sitters annually, Heinser creates an attenuated record of the idiosyncrasies of individual transformation which presented together in a wall-sized grid, become notes in a symphony about time, relatively and the position of the observer.
Now That My Ladder's Gone
Paintings by Deirdre White
Great oil painters, of which Deirdre White is one, dance with their medium and thus expose their own viscera in the drag of a line or the mix of a color mostly seen by surgeons or first responders. White's subjects, the mobile contraptions built by un-homed people, gain historical grounding though her reference to the folds of cloth and bindings found in artworks by the old masters. Tarps, blankets and tents become togas, robes and table covers and the people, mostly unseen, transform into modern day penitents on an endless pilgrimage. Yet, there are no stations of the cross streets or hostels along the way to give meaning or shelter to their quest.
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Proof
Photographic installation by Thomas Heinser
Susan Sontag famously wrote, "All photographs are memento mori. To take a photograph is to participate in another person's (or thing's) mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time's relentless melt." Thomas's Heisner's photographic installation, Proof, points to a slightly different conclusion. By showing 330 images of people of all ages (some of whom are the same person at different ages) time doesn't so much melt as slip and slide, swoop and circle. Photographing his sitters annually, Heinser creates an attenuated record of the idiosyncrasies of individual transformation which presented together in a wall-sized grid, become notes in a symphony about time, relatively and the position of the observer.
Now That My Ladder's Gone
Paintings by Deirdre White
Great oil painters, of which Deirdre White is one, dance with their medium and thus expose their own viscera in the drag of a line or the mix of a color mostly seen by surgeons or first responders. White's subjects, the mobile contraptions built by un-homed people, gain historical grounding though her reference to the folds of cloth and bindings found in artworks by the old masters. Tarps, blankets and tents become togas, robes and table covers and the people, mostly unseen, transform into modern day penitents on an endless pilgrimage. Yet, there are no stations of the cross streets or hostels along the way to give meaning or shelter to their quest.
ampersand international arts is thrilled to announce two solo exhibitions opening Friday, January 31st, 2020 6pm-9pm, welcoming back curator Tracy Wheeler featuring Proof by Thomas Heinser & Now That My Ladder's Gone by Deirdre White. With a loose thread of human evolution connecting them, Heinser's photographs & White's paintings each create windows into a possible past, present & future of the world.
Proof
Photographic installation by Thomas Heinser
Susan Sontag famously wrote, "All photographs are memento mori. To take a photograph is to participate in another person's (or thing's) mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time's relentless melt." Thomas's Heisner's photographic installation, Proof, points to a slightly different conclusion. By showing 330 images of people of all ages (some of whom are the same person at different ages) time doesn't so much melt as slip and slide, swoop and circle. Photographing his sitters annually, Heinser creates an attenuated record of the idiosyncrasies of individual transformation which presented together in a wall-sized grid, become notes in a symphony about time, relatively and the position of the observer.
Now That My Ladder's Gone
Paintings by Deirdre White
Great oil painters, of which Deirdre White is one, dance with their medium and thus expose their own viscera in the drag of a line or the mix of a color mostly seen by surgeons or first responders. White's subjects, the mobile contraptions built by un-homed people, gain historical grounding though her reference to the folds of cloth and bindings found in artworks by the old masters. Tarps, blankets and tents become togas, robes and table covers and the people, mostly unseen, transform into modern day penitents on an endless pilgrimage. Yet, there are no stations of the cross streets or hostels along the way to give meaning or shelter to their quest.
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Proof
Photographic installation by Thomas Heinser
Susan Sontag famously wrote, "All photographs are memento mori. To take a photograph is to participate in another person's (or thing's) mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time's relentless melt." Thomas's Heisner's photographic installation, Proof, points to a slightly different conclusion. By showing 330 images of people of all ages (some of whom are the same person at different ages) time doesn't so much melt as slip and slide, swoop and circle. Photographing his sitters annually, Heinser creates an attenuated record of the idiosyncrasies of individual transformation which presented together in a wall-sized grid, become notes in a symphony about time, relatively and the position of the observer.
Now That My Ladder's Gone
Paintings by Deirdre White
Great oil painters, of which Deirdre White is one, dance with their medium and thus expose their own viscera in the drag of a line or the mix of a color mostly seen by surgeons or first responders. White's subjects, the mobile contraptions built by un-homed people, gain historical grounding though her reference to the folds of cloth and bindings found in artworks by the old masters. Tarps, blankets and tents become togas, robes and table covers and the people, mostly unseen, transform into modern day penitents on an endless pilgrimage. Yet, there are no stations of the cross streets or hostels along the way to give meaning or shelter to their quest.
show less
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1001 Tennessee Street, San Francisco, CA 94107
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