"Evidence" Shows Off a Variety of Work With Wit at d.m. allison gallery

Allurement dominates with its colorful beauty
Allurement dominates with its colorful beauty
Photo courtesy of d. m. allison gallery

The d. m. allison gallery presents both emerging and established artists, and manages to exhibit a great number of works, somehow attractively arranged, in its fairly intimate space. Wit is often in play, as well as innovative approaches.

What is truly beautiful can be decorative as well, and can rise to the level of stunning art. Such is the case in this group show entitled "Evidence" with Allurement, by Erika Pochybova-Johnson. It is a portrait of a peacock, head turned, perhaps to admire its own magnificent multi-colored train. The colors are vibrant, gripping, and difficult to wrench one's eyes from - no wonder the peacock is straining to see.

Mel Chin, Self Portrait, on special consignment from the artist's studio through November
Mel Chin, Self Portrait, on special consignment from the artist's studio through November
Photo courtesy of d. m. allison gallery

Self Portrait by Mel Chin is a multiple etching and the one on display is the last available of 25 printed. It has no background, but shows an American bison in a staring contest with a hare one-twentieth the size of the bison. Amusingly, the hare appears to be holding its ground. It was printed at Vinalhaven Press, and is on special assignment from the artist's studio through November.

Its appeal is in its straightforward simplicity, and of course the skilled hand of a master at work. Houston-born Chin is internationally famed for a variety of hugely successful conceptual art projects, and it was a pleasure to see his work on display here.

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The gallery's penchant for wit is evident in Kelly Moran's Hokey Pokey, three-dimensional figures of a cowboy and a cowgirl. Similarly, her Piggly Wiggly has fairy-tale figures in front of an open fridge. Both works are vivid and droll, employing found objects.

Less heavily textured, but imposingly large, is Gown by Ken Little, a 72-inch tall gown composed entirely of $1 bills, three-dimensional, as though supported on a mannequin - it has an unseen steel frame. Were the absent head to be added, the wearer would be close to a (shudder) giantess. Little also has several interesting multiples, including Hare, an edition of 10 bronzes, and Buck, an edition of 25 bronzes.

Also three-dimensional and totally charming is Chinese Foo Fighters Cabinet, by Noah Edmundson. It is a shadow box, a cabinet with doors open to reveal two fighters in elaborate costumes, and a finely detailed Oriental landscape painting on the inner wall of the cabinet. It has style, a sense of history, huge dramatic energy, and is an absolute delight.

Meredith Jack has a tall (87 inches high), fabricated steel abstract sculpture titled Susto (Fright, or Blood Loss), which has an angry power. Jack also has a smaller (17 inches high) cast bronze sculpture Sangue Dormido (Sleeeping Blood), capturing some of the same energy.

Rock Romano's acrylic on canvas Buddha in the Mosh Pit is the most detailed, filled with figures and actions, a bit intimidating as there is so much to see. I settled for enjoying the sweep of its fascinating energy, a bit like Las Vegas at 3 a. m.

Evidence, a group show, continues through November 8 at d. m. allison gallery, 2709 Colquitt, open Wednesday to Saturday 11 a.m. to 5 p.m., 832-607-4378, dma-art.com.


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