Tuesday, September 15, 2009

Sculptural Wonderland


Art + Cayce’s newest exhibition features ceramic and mixed media sculptures and assemblages. 

When one enters the gallery, Andrew Norton Weber’s sculptures immediately demand attention. The subject matter of the mixed media assemblages can be hard to discern. Yet, the abstracts include some of the most intriguing objects one could conceive to use for a sculpture. Wall assemblages feature anything from plastic toys, flowers and fruits to random objects made of melted wire. The final result is less a sculpture and more a visual journey. 

Robin Jones grew up in Columbia and went to USC before moving to Boston to study art history at Harvard.  Finally the artist moved back to Columbia in 2002 and has been working and exhibiting here since. The Harvard-educated sculptor works with a variety of media including stone, ceramics and bronze. 

Jones’ black and white ceramics create his own wonderland with fantastic chess pieces and futuristic igloos.  Jones is fascinated by geometric shapes and the possibility to utilize not only the medium and also the space around it.

“Most of the ceramics in this show were conceived as models for much larger structures which one could walk through,” Jones said. 

Viewing his chessboard ceramic, one can only imagine walking among the huge chess pieces on a shiny chessboard like walking around marble columns.  Jones therefore not only engages the viewers mentally and aesthetically but also physically. Some of the artist’s latest projects are designed in a way that allows viewers to move the pieces and rearrange them, making it an interactive artwork.

While Jones creates futuristic fantasies, he remains loyal to his signature dynamics: the contrasts between straight lines and curves inspired by nature. 

“Artistic creation is very much part of nature: for what are we if not nature?” he said. 


ART + Cayce provides art lovers in the Columbia area with a serious of outstanding exhibitions. This exhibit can be viewed until October 8 at Cayce Art Gallery on State Street. The next show will feature Suzy Scarborough’s paintings starting October 8. 


Thursday, September 3, 2009

External Signing


The Printmaking Artwork of Bill Hosterman





It is easy to be lost in Bill Hosterman’s prints (in a good way). His images and shapes seem to explore the world on an elemental level, as if he is searching for the core elements that define living things. Hosterman’s work explores ideas about the essence of humans and our environment. Through collage, he constructs and deconstructs each image, keeping what feels essential and leaving other things out until he finally reaches the perfect abstract. 

Under the Reefer Moon




“Some doctor at the Melrose Resort was comparing it to Brothers Karamazov,” Roger Pinckney was saying about his new novel, Reefer Moon, published last month by Joggling Board Press. Then he grinned a rapscallion grin and added, “I said I thought it was more like Brothers Kutyernutzoff, myself.” 


We were at the Freeport Marina on Daufuskie Island. Daufuskie is the southernmost point in South Carolina, our last sea island. If Hilton Head looks like a boot, Daufuskie is the ball it’s about to kick. 


Freeport Marina is one of the two ways on—or off—of the bridgeless island. In the middle of the small store, surrounded by crackers, soda, gum, and crab nets, sat a table loaded down with Pinckney’s books. You could almost overlook his previous titles—Seventh Son, Blue Roots, The Right Side of the River, Signs and Wonders, and Little Glory—so surrounded were they by the “Lucky J” shrimp boats emblazoned with the pot leaves on the cover of Reefer Moon. Then there was the paraphernalia. T-shirts and hats sported the Reefer Moon logo: the South Carolina state flag with a marijuana leaf at the top of the palmetto. 


The Reefer Moon state flag may not please everyone—Pinckney’s own mother has warned people away from the book, calling it trashy— but the main character, Yancey Yarboro embodies the peculiar characteristics of the modern Lowcountry like no one else in our fiction. And it may just be the trashiness that helps us learn to listen to things Pincnkey has been trying to tell us for the past twelve years.