May 5 - June 11, 2017
Melinda Laszczynski, Randi Long, and Sarah Welch, curated by Dean Daderko
John M. O'Quinn Gallery
The residents in Round 11 of Lawndale’s Artist Studio Program create new visions, sounds, and ideas that will change the way you experience the world around you. Through prints, drawings, hand-drawn animations, and a newly created comic book that explores the near-future in an ecologically disrupted Gulf Coast; an expansive, gestural installation of playfully perverse, glittery and gritty abstract paintings and sculptures enlivened with video; and household items and refuse wired together to produce explosive sound, as well as quieter collages and scores that synthesize the act of looking and listening, these artists invent worlds for us to enter, explore, inhabit. and enjoy.
Holdouts (Process Art), Sarah Welch, 2017
Sparkling Canyon, 2017
Melinda Laszczynski received her MFA in Painting and Drawing from the University of Houston in 2015 and her BFA in Painting from the Cleveland Institute of Art in 2010. She recently had solo shows at Cardoza Fine Art and galleryHOMELAND in Houston, TX, and group shows include Galleri Urbane (Dallas) and Inman Gallery (Houston). Laszczynski was featured in the 2015 Amarillo Museum of Art sculpture biennial and New American Paintings MFA Annual in 2014 and 2016.
Grounded in painting, Sparkling Canyon expands Laszczynski’s practice to include video and installation. Pedestals become sculptures, function as screens, and contain dance parties. Images and textures spill out of painted panels and lenticular prints to manifest as new material combinations.
Fecific Spuckups, 2017
Randi Long received her BFA in Sculpture from the University of Houston in 2014. She was an artist in residence at Project Row Houses and Alabama Song in 2015. Long collaborated with Gabriel Martinez and James Racliffe for the project Noise Truck, which received an Idea Fund Award in 2016 and 1St Place, Grand Trophy for Best Music, at the Orange Show's 2016 Art Car Parade. Long has performed in projects with Nameless Sounds at AvantGarten, DiverseWorks, and MECA.
Triggered by timers, these sculptures erupt with sound. A garage door opener spins a bicycle wheel; tables are turned by vacuums and fans; a coffee cup holds a contact mic on a nail. When activated by performers, sculptures become instruments, plinths become stages, drawings and collages become set lists and scores. Earplugs are available.
Sarah Welch is an artist, illustrator, and comix-maker. After receiving a BFA from the School of the Art Institute of Chicago and moving to Houston in 2012, she began the ongoing comic book series, Endless Monsoon. Welch is a co-organizer with Zine Fest Houston and regularly publishes prints, zines, and comics in collaboration with local print shop, Mystic Multiples. Welch is a past Idea Fund recipient, past resident at UT Dallas Centraltrak, and was recently awarded a 2017 Houston Arts Alliance Individual Artist Grant and Arch and Anne Giles Kimbrough Fund Award from the Dallas Museum of Art.
This reading room installation features drawings, risograph prints, animations, and objects created throughout the making of the Holdouts comic book. These works function both as investigations in world building for the book and as stand-alone pieces that draw heavily from the comic's narrative. Copies of Holdouts can be purchased from the Lawndale Gallery Attendant or online at mysticmultiples.com. "It was nice...while it lasted" stacked prints in this room are takeaways. Please take one (gently).
Cecily E. Horton Gallery
Marfacello (JefferJudd) is an examination of space and memory. To start, I made a comparison between Thomas Jefferson and Donald Judd. Specifically, I considered the house museums dedicated to preserving their history, Monticello and Marfa, TX. Each home is decorated with maps, tinkerings, and ideas that create an air of ingenuity around their historic tenant.
Using Jefferson and Judd (and Monticello and Marfa) as a trailhead, this body of work examines space and memory, history and landscape. I've designed my own tools, each for specific, if unintelligible task.
Using maps created by both Jefferson and Judd, I've created maps that absent of any legend, read as abstract paintings. Marfacello (JefferJudd) embraces the myopia of its namesakes. The work plays at inventiveness and ingenuity by proposing solutions to nonexistent problems.
The Memory of a Particular Image
Grace R. Cavnar Gallery
Our family photographs are the most intimate records of our lives. They shape how we feel about our past, about our loved ones and ourselves. We remember and misremember our history through these pictures; as our ability to recall fades with age, these images often supplant our memory. Can we trust these images? Do they tell us the truth about ourselves or do we create truths from what we see? Through a series of appropriated family photographs, The Memory of a Particular Image explores the malleability of our memory and how photography alters the way we experience the past.
This project is funded by a grant from the City of Houston through Houston Arts Alliance.
The Room Nobody Lives In
The Room Nobody Lives In, Vanishing Act, Miguel Martinez, 2017
There I took refuge from the arid heat, pressing my cheek against the tile floor. In my absence an unspoken routine kept the room alive. By night a moth devours the sun bleached lace whose playful shadows foretold what I’ve now lived in the flesh. A spider mends the tears by day- too kind in its recollection. Staring past the film of dust on the dresser mirror I find myself unchanged, in the company of breaths and whispers, once again in The Room Nobody Lives In.
Miguel Martinez was born in Celaya, Mexico. He has lived in Houston since 2001 where he received a BFA from the University of Houston. He has been included in group shows at Box13, galleryHOMELAND, the Joanna, and is a recipient of the 2013 Dallas Museum of Art Clare Hart DeGolyer Fund Award.