The seven female artists in Nothing Twice are preoccupied with ephemeral materials.Their reliefs, paintings, and sculptures are characterized by a relentless sense of transience, toeing the line between the chaotic and the orderly. These works engage with the viewers by placing them in a meditative space located at the precipice where disorder and imperfection meet beauty. The viewers are enticed to approach the playful and tactile forms —recycled materials, interwoven, stacked, sewn—an embrace of fallibility and chance. These traits have been pivotal in 20th century art, largely explored and driven by the work of women like Louise Bourgeois, Eva Hesse and Marisa Merz.
NANCY BAKER creates complex paper constructions by the dense layering of painted, digitally printed, hand and laser cut geometric shapes. Weaving in words and simple phrases, Baker seeks to express her frustrations through an abbreviated poetry that references a “singularly chaotic and impenetrable world”.
JAYNIE CRIMMINS’ elaborate textural sculptures are made of her shredded junk mail, meticulously rolled and sewn together. The self-imposed boundaries of her process are inspired by nature and its production of a multitude of outcomes through very restrictive means. Using her self-made language, her project Building a Blue Wall responds to the changing cultural and political landscape.
CHRISTINA MASSEY uses hand-stitching and weaving in combination with clothing, fabrics and aluminum cans. The work blends the distinctions between craft and fine art, painting and sculpture, even “masculine” and “feminine.” They are intentionally ambivalent, allowing the viewer’s curiosity and varied interpretations to define their identity.
HELEN O’LEARY’S art draws on her Irish roots, while exploring with rigor and craft her own history as a painter. She pairs a table of wooden “paintings”, works that interrogate their own structure, stability, and framing, with a large, fragmented work that flirts with, but ultimately resists, collapse. In all of these works, uncertainty, and the inevitability of the uncertain, are a given rather than an anomaly.
JULIA VON EICHEL’S meticulous sculptures are concerned with the tension between chaos and control. Her process is highly focused from initial creation to the final piece; juxtaposition of precision and serendipitous expression is constantly at play. Upon closer examination, the pieces are closely and obsessively structured networks, creating a complex interplay between the natural world and the world of the artist’s hand.
LEAH TACHA draws on diverse, seemingly opposing sources in her prints and ceramic sculptures. Influenced by Russian Constructivism, Japanese design, antique pottery, and postmodern aesthetics, her work demonstratesan idiosyncratic visual syntax, applied to create engaging hypotheses.
ETTY YANIV employs in her wall reliefs daily autobiographical visual recordings such as photos and drawings, with found materials such as Google images and shipping material. In a lengthy process of accumulation and editing, she coalesces these fragments into highly detailed and tactile surfaces, reflecting on the intersection between personal and cultural perspectives, ephemerality and temporality.
