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Artifical Nature
Clint Imboden, Liz Maher, Michael Singman-Aste, Mark Schroeder, Devin Cecil-Wishing, Andy Gouveia, Ginny Parsons, David Burke
In the installation room: T. Joseph Enos

July 10- August 16, 2009

Autobody Fine Art is proud to present "Artificial Nature," a show that explores the boundaries and intersections between what is termed "real" and what is termed "synthetic." As artworks have moved far beyond the idea of simple representation of form and have begun increasingly to insist on themselves as forms in their own right, the use and application of unconventional, fugitive, and plastic materials and technologies have made for some downright bizarre, beautiful and inappropriate artworks. We want to celebrate these objects and images.

The installations and sculptures in this exhibition are wrought of materials completely unrelated to their original source material. For example, Liz Maher fashions trees out of felt, marshmallow frosting and chicken wire that spew gifts of French fries, Dorritos and Potato chips, the way a disenfranchised elm might spew out resin. Mark Schroeder carefully crafts objects that are neither animal nor vegetable but are the sum of the two ideas, a graft of one personality onto the other, as is also apparent in the sly deception of Michael Singman-Aste’s photographs. The apotheosis of these ideas is translated in the installation/performance work of T. Joseph Enos, who takes the social posturing of masculinity and subverts it through the use and transformation of commonly sourced construction materials and debris.

The paintings featured in the exhibition reflect upon human intrusion into the wild, and how we perversely then create and image out own wilderness. David Burke and Ginny Parsons use unconventional (and sometimes conventional) materials to imagine landscapes that are lush with the artificiality of brush stroke, drips and poured resin. Andy Gouveia’s watercolors, where pools of color coalesce into being and then return us to nothingness, flirt with the human form and intention, but remain resolute in their attachment to abstraction. Devin Cecil-Wishing, by contrast, uses traditional techniques to get as close to realism as is possible. Still, at the end of the day, what we have is a simulacrum, a beautifully crafted image that turns us back, once again, to the shadows playing on the walls of Plato’s cave.

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Liz Maher
T. Joseph Enos
Clint Imboden