A.G.G. W.O.P.

Asya Geisberg Gallery is pleased to present A.G.G. W.O.P., an exhibition of works on paper by Annie Attridge, Allison Gildersleeve, Angelina Gualdoni, Todd Kelly, and Rebecca Morgan. Each of these gallery artists works primarily in other media or scale, and the diverse bodies of work in A.G.G. W.O.P. represent a parallel practice.

Todd Kelly’s paintings, while visually eclectic in style, emanate from a deceptively organized premise. His works on paper are even more methodically serial in nature. Kelly’s striped colored-pencil drawings started as a goal of completing forty drawings before the artist turned forty. The project embraces a more contemplative process, taking into account variation in color and irregularity, and includes the pleasure of arranging and rearranging the single pieces to form a vibrating grid.

Angelina Gualdoni’s method of staining, pouring and painting forces a long-term exploration and commitment into her process. Her collages involve speed, experimentation and risk-taking, paving the way for her larger-scale paintings. Incorporating found images and the artist’s own photos, Gualdoni engages with photography via cutting and easy reproduction, adding even great speed and flexibility to the creative process.

Allison Gildersleeve’s ink and acrylic drawings are constructed similarly to her prints: she composes layers of elements of a landscape in one color, so that the end result is like a patchwork or web. As the disparate layers are compressed into one, an unpredictable image results. The process allows what sits solidly in space to vibrate with alternate meanings.

Rebecca Morgan creates diaristic self-portraits and quick caricatures that exemplify discomfort, agitation, and alternating comfort and conflict of the rural countryside she inhabits. A sense of a transitional state between wild and contained, unkempt and refined, and grotesque and prettified is shown in both the stylistic leaps and depicted traits of her characters. The quick and confidently awkward lines of her daily practice act as a conceptual background under the painstakingly finished surfaces of her paintings.

Annie Attridge’s small and delicate etchings and chine-colles have a pronounced interest in geometry and repetition, and the finely detailed lines are a departure from both her velvety charcoal drawings and her exquisitely crafted porcelain and wood sculptures. Seeking a structure and tightness in the smaller works, Attridge shows the range of emotion and form that her themes can embrace.