(L-R): Pritchard, Palmer and Patch
press release continued...
The associations of Ruby Palmer’s visual imagery range from high modernism to whimsical fabrications made by children. Whenever feeling stuck or at an impasse with a painting or wall-relief structure, she moves to the floor. It is a liberation that allows her to shed the historical weight and conversation of easel painting and allows her to democratize space, and return to the fundamental impulse of playful improvisation. Palmer sees her light studies and constructions as deconstructed abstract paintings. Ambiguous images hover in a state of zero gravity due to the nuanced relationship between light, the surface it falls on, and the inter-mediating perforated structures.
For Christopher Patch, whose pictorial imagery alternates between representation and abstraction, both the natural world and humankind’s relationship to it has continually served as his primary inspiration. With an innate aversion to being easily categorized, and a fluency in materials such as (but not limited to): printmaking, rope-weaving, watercolor, and collage, Patch fluidly alternates between various material opportunities in his multifaceted approach.
The associations of Ruby Palmer’s visual imagery range from high modernism to whimsical fabrications made by children. Whenever feeling stuck or at an impasse with a painting or wall-relief structure, she moves to the floor. It is a liberation that allows her to shed the historical weight and conversation of easel painting and allows her to democratize space, and return to the fundamental impulse of playful improvisation. Palmer sees her light studies and constructions as deconstructed abstract paintings. Ambiguous images hover in a state of zero gravity due to the nuanced relationship between light, the surface it falls on, and the inter-mediating perforated structures.
For Christopher Patch, whose pictorial imagery alternates between representation and abstraction, both the natural world and humankind’s relationship to it has continually served as his primary inspiration. With an innate aversion to being easily categorized, and a fluency in materials such as (but not limited to): printmaking, rope-weaving, watercolor, and collage, Patch fluidly alternates between various material opportunities in his multifaceted approach.
All images copyright Andrew Zarou.