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Triple Threat
Patch Wright, Renee Castro and Sandra Hart

September 11 - October 4, 2009
Reception: Friday, September 11, 2009 / 7-10 p.m.
Catering by Ching Hua restaurant

Autobody Fine Art is proud to announce three solo shows by local artists that explore the latent psychological energy held captive by aesthetics but threatening to break free from the stranglehold of beauty and appropriate behavior that is so often mistaken for the value of art.

Patch Wright
Patch Wright takes basic, straightforward materials often used in construction, and frequently combines them with found, organic objects such as gourds, animal hides, desiccated bones and dehydrated viscera. Out of these elements he wrenches complicated psychological narratives that are embodied in sculptures that are disarmingly humble. Titles are important to both the artist and the work as they declare a frequent threatening menace and barely contained insurgency that bubbles just below the radar of seduction that is so appealing in the work. For instance, the piece “There is Something Moving Inside You and It’s Not Your Heart," revels in a grotesque approximation of parasitic invasion, while at the same time drawing attention to itself through careful manufacture and specifically chosen materials.

Renee Castro
Renee Castro’s work is elliptical. She weaves contemporary fables from metaphors and anecdotes ripped from the near and distant past. I could explain it further, but the cadence of her statement is all the introduction needed. Viewing the work is the only way to understand the visual logic of a dreamlike state.

"I dream of you, Rabbit, Jackrabbit, Quail, Creation stories, tall tails, the old and the new are the foundation for my paintings and drawings of Native American women. In addition, I found inspiration from the sexualization of women and stereotypes put upon Native Americans. I grew up with images of romanticize paintings of Native American people. These were not the images I saw day to day. These depictions of my culture were of a different time and age, which were not always depicted true. Now I take that old idea and make it new. From headdress, high heels, face paint, eyeliner, animals, playing cards and cigarettes they are all subject matter that I use to reinterpret images and memories."

Sandra Hart
Sandra Hart manufactures environments from simple materials that strategically place her audience within grasp of a greater understanding of their own histories through the tales long told of others. Using situations and metaphors that are universally acknowledged, she inserts personal information so that the viewer begins to believe that the conversation is intimate and direct. Hart frequently sees music as an integral part of this creative landscape and also uses carefully rendered drawings, chemically burned into the surface of Fax paper, to prompt questions about the point at which collective memory begins to serve the purpose of autobiography.

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Patch Wright
Renee Castro
Sandra Hart