Garrett Adkinson
Sometimes art pieces speak to the viewer. Sometimes you speak to them. Here, in Garrett Adkinson’s exhibit there is a dramatic tension as the art object and the observer are faced one with another. In a manner like Rauchenberg whom has been an influence in Adkinson's work, art as object is placed here in a certain rawness which begs its “artness” to be recognized. It seems that through the density of the leather “canvas” the “artness” from within is pushing itself, thrusts itself, forces itself through the medium, towards the viewer who is left to accept or reject the object. This is a limited proximity whose density pushes and thrusts the limit from the space which it occupies. The uniformness of the cycle of analogous objects, all with like dimension and structure, yet each with its own unique sense of “voice” as it pushes from within, gives the nature of the objects an individuality with sensuousness of that working from within. Only by the amorphous smudges of paint on the exterior of the forms does the viewer reconcile that this is merely a lifeless piece of art.

Brandy Gunnell
Rarely in this cluttered world do we have the opportunity to stop and see a life which is truly uninhabited- an existential experience where spaces we are so used to from day to day without much noticing them, show us what they would be without us. In Brandy Gunnell’s cycle and video, we find one analogous form, a construction of smaller pyramids, together forming a larger-itself a reference to life gone by, history, man extinct. This structure is cannily placed in a laundry mat, a parking garage, a library, a corridor, but this is not Richard Estes’ humanless world, this is more stark and uncanny. This is life which not only is devoid of humans, but so empty, so long since past, that there is a sense of something like you feel at the end of “planet of the Apes”. Only in the video do we find some forms of life- a statue of the virgin, a praying mantis, a cobra- all images of a mystical nature which add an eerie quality to the evocation of memory and loss. Maybe one could discern from all of this the impermanence which we all share.

Sri Whipple
If you were to combine Barnum and Baily with Xaviera Hollander, you would find a very sterile version that what we find in Sri Whipple. Whipple graduated in Fine Arts at the university of Utah and has proven himself to be one of the most imaginative minds to come from that institution. A few words come to mind when viewing his work, and, let it be stated first: pornographic is not one of them because it is not. Thoughts running through my head as I was lured into these images: comical nightmare, gloriously garish, teasing but overtly sensual, graceful corporeal shapes, Disney meets Henry Fuseli, Minnie and Micky on crack! Lyrical and confrontational. There is no simple way to define Whipple’s work and his lucid imagination, but he confronts, compels, provokes, even defies (as in the overtly sexual use of Jean Fouquet’s more subtle treatment of his Madonna). His forms are undefinable, something of a Heironomous Bosh grotesque for the millennium. But however you find this display, you just might be dazzled by a luscious display of some other world which Whipple has created for us which entertains and provokes and is not easily forgotten.