When Our Physical & Ethereal Experiences Unite

Above, Below & Beyond

installation by Cathy Breslaw

of air, once, analogous (for Gustaf Sobin)

installation by Charles Matson Lume

July 13 – August 25, 2012
Reception: Friday, July 27th from 5 – 9pm with a gallery talk by Charles Matson Lume at 7pm.

Using repurposed manufactured materials that create movement via light, shadow, reflection, form and color, two installation artists examine the moments when our physical and ethereal experiences unite. 

Cathy Breslaw, "Outer Limits" and "Above, Below and Beyond", 2012

Breslaw on her work:
My work engages materiality in many forms.  Its roots are based in childhood and my family’s fabric business.  Spending a multitude of hours around materials of all kinds, seeing and feeling colors, textures and patterns presented on an array of fabric types, made an indelible impression, which followed me into adulthood and into the art I make.  Given my many years in southern California and my family history, it’s not surprising that light, space and fabric have made their way into my work.  These influences have lead me to create mostly large scale wall and floor installation pieces that reflect the ephemeral transparent lightness of the environment in which I live and accentuate the fragility of life.
In my travels to Southeast Asia, I located an industrial mesh that has dominated my work for several years. The commercial mesh, packed in rolls in room-sized containers is shipped in commercial vessels worldwide. Fascinated by this material, I visited the factory in Shanghai, and brought the mesh back to my studio where I could experiment, explore and expand the possible uses for this ordinary and easily accessible commercial medium.

Charles Matson Lume, "of air, once, analogous (for Gustaf Sobin)", mixed media, 2012


Charles Matson Lume, window installation, proofing paper, 2012

Charles Matson Lume, window installation, proofing paper, 2012

Lume on his work:
Sixteen years ago Sarah, my wife, and I were married and honeymooned in Provence, France. We visited the small village where we first met and had the pleasure of seeing an old friend and poet, Gustaf Sobin. With an archeologist guiding us and with Gustaf as our co-leader, we took an excursion to a late Neolithic cave painting high in the hills near the Luberon mountain range.
After a long hike up a steep embankment, we came to the cave. It was more a scooped out shelter than a cave, but the cave paintings were clear and graphic in nature. To me, the most striking part of the painting was the red dotted line that horizontally divided the cave. The poet and archeologist speculated that the painted elements above the line were alive, while those below were dead.
Where they right?
Obviously, we’ll never know the intensions of this person who lived so many thousands of years ago. Nonetheless, I continue to speculate. This late Neolithic cave painting continues to ask fundamental questions about our world as we fall more and more into a virtual one.

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