RESONANCE June 9th - July 21st | Kai Lin Art announces its fourth exhibition of 2017 featuring new bodies of work of four artists: Todd Anderson, Greg Noblin, Erik Waterkotte and Andrew Catanese. RESONANCE draws together landscapes, tableaux, photo montage, and experimental printmaking.
Master printmaker Todd Anderson’s practice involves long-term, team-based projects that investigate ecological changes to wilderness caused by global warming. He works in the ancient tradition of woodblock printing using as many as 15 colors in a single print. Anderson is committed to preserving the romantic beauty of the natural world but at the same time drawing attention to the dire and uncertain futures of these landscapes. Anderson returns to the gallery with a new series of works featuring the stunning vistas and unmatched beauty of Rocky Mountain National Park.
Long time artist of the gallery, Greg Noblin returns with a fresh series of his signature Panelist works. Noblin works to incorporate layers of meaning, symbolism and texture in his artworks through a multistep process of photo-collage and panel printing. The final works are a combination of surrealism, photography and landscape supported by organic and inorganic structures. Sometimes humorous or fantastic, these allegorical illustrations serve as a bridge between the childhood imagination and adult “reality”.
Erik Waterkotte creates work that centers on concepts of belief, ritual, and space while mixing various experimental printmaking techniques and layering graphics based on his family history, Catholic-upbringing, and fascination with early-American occult. Waterkotte places the viewer into an introspective plane where they can reconcile the real and the unreal in their own faiths. This will be Waterkotte’s first exhibition with Kai Lin Art; he has previously been a part of the group exhibitions FRESH and The New South.
Kai Lin Art welcomes new artist Andrew Catanese with a new series of unique and striking paintings. His figurative, narrative artworks are characterized by a neo-gothic style and horror vacui aesthetic. The work stems from the complex relationship that develops between “outsiders” in the South and the conservatism they disrupt. The dense, tapestry-like images are populated with figures in disguise, caught in moments of violence and intimacy, and surrounded by the thick, heavy native foliage of the South. The paintings depict the South in the echoes of figures and stories at its fringes.