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For the artist drawing is discovery. And that is not just a slick phrase, it is literally true. It is the actual act of drawing that forces the artist to look at the object in front of him, to dissect it in his minds eye and put it together again; or, if he is drawing from memory, that forces him to dredge his own mind, to discover the content of his own store of past observations...a line, an area of tone, is not really important because it records what you have seen, but because of what it will lead you on to see.
-John Berger from Permanent Red

Shades of Gray presents innovative and divergent approaches to drawing by 4 Southern California artists: Barbara Berk, Angle Bray, Anne Scheid and Sally Warner. While drawing is often considered as notation or study preceding painting or sculpture, the artists in this exhibition share the commonality of using drawing as a tool for investigating the unseen.

Barbara Berk presents a series of vigorous graphite drawings, which are dictated by the limitations of the movement of her body. The repeated flick of her wrist inscribes a vibrating pompom of pencil marks, which elucidate and are determined by her movement. Additionally Berk shows elegant abstractions formed by stacking contours of parts of the body. She will be executing a full body contour as performance at the reception on Thursday, August 30, 7-9 pm.

Using transparent sheets of acrylic dappled with pale, sumi ink images of fragmented trees, Angie Bray plays with our perceptions about drawing, making substance of shadows and mingling two dimensions with three. In her grove like installation, Once... Again, where acrylic panels turn in space, the trees appear and disappear, grow solid, then dissolve. Additionally Dray presents Smoke Drawing, in which the vestiges of smoke are captured directly on paper, and nature is the draughtsman.

In Bodies of Water, a 12' x 52' charcoal drawing. Anne Scheid duplicates in full scale, a powerful landscape, directly translating what is seen into a two dimensional form. Energetic representation of water crashing and swirling over rocks, is the ground against which evanescent figures float. The emergence and immersion of the human figure seems to speak of the birthing of artistic expression where all is fluid. Simultaneously one is reminded of the fact that man is primarily a membrane, filled with H20, and of the elemental, all importance of water.

The sheer forms of nature, the patterning and the substances, overthrow Sally Warner emotionally with their wonder, their intimation of the �something beyond�. She copes with this intensity of response by re-expressing natural shapes in her charcoal exactitudes. -Sister Wendy Beckett, from The Mystical Now. Warner�s tiny (6" x 6") landscapes done in vine charcoal, compress her intense reaction to nature and the greater unknown into poetically charged jewels.

When asked to describe her interest in drawing, artist, Anne Scheid replied, I am interests in the hidden, the things I can�t see but are manifest in the visible. Gentleness is just a word until it is described in a human gesture. Can I draw a line that is gentle and can you feel the gentle? That is what I want. Shades of Gray attempts to investigate the mysterious interweaving of psyche and the physical through the medium of drawing.

-SUSANNA MEIERS
Curator El Camino College Art Gallery
We regret that photographic documentation of the installations
are not available at the time.

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 Last Updated On: 1/13/06