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DiggEvans-Cato and Ijichi
April 29, 2008- May 24, 2008
Reception: May 1, 6:00 pm - 8:00 pm
Nicholas Evans-Cato, Mary Ijichi
George Billis Gallery
511 W 25th StNicholas Evans-Cato
Brooklyn-based artist Nicholas Evans-Cato draws his inspiration from the continually changing landscape of New York City. "These paintings represent an effort to exploit the pictorial potential of the urban grid." The artist is fascinated by the many different perspectives through which the city can be viewed. At street level, Evans-Cato enjoys depicting shadow and detail, but occasionally feels limited by the narrow horizons dictated by the layout of the streets. He often prefers to climb high above the restrictions of the ground below in search of a loftier view of the city, where he can capture a more satisfying panoramic outlook. High altitudes and wide angles allow him to alter the straight path of the streets below. As the artists states, "While box-like canyons of space at street-level present motifs best captured in a [square] format, in aerial views these tight spaces are exploded by the distortions of panoramic perspective in which curvilinear trajectories mirror the dome of the sky."
Mary Ijichi
Mary Ijichi's string extrusions began as an exploration of language, using horizontal lines and abstract marks to represent an illegible script. Parallel lines, offset by vacant areas, represent the positive and negative spaces of the written word. By abstractly rendering language, Ijichi represents the deception and confusion that communication often causes. She states, "It becomes work to wade through layers of verbosity to seek out underlying truths." The duality between positive and negative has recently translated into more conceptual terms. In her current body of work, Ijichi explores the dichotomies inherent in the political, natural, social, and psychological worlds in her string extrusions, all of which the artist feels exhibit "the co-existence of seemingly contradictory principles and conditions."
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