Join us for the opening reception of “Eel Road” on Saturday, June 1, from 6 to 9 pm. Conceived as a multidimensional artistic collaboration, this exhibition features a site-specific installation of prints on Chinese paper by Gloria Sanchez-Hart and large-scale papier mache sculpture by Nancy Oakley Klapp documented by filmmaker William E. Mackie.
Gloria Sanchez Hart’s response to the eels, as described by the poet, “is marked by a melding of method and meaning. Her process is integrated with the content: submersion, transposition, transformation, non-confinement, an occupation with a new kind of space. . . In the process and in the work, we discover a sense of liveliness, of motion, of fluctuation. The prints, suspended from the ceiling, float, capture light and create a space for the viewer to move (or swim) in. Made of multiple over-printed hand-carved and hand-printed woodblocks cloaked in glimmering colored metallic skins. . . the prints, like eels, are forever in a state of becoming. Multiplicity lies at the heart of Gloria’s work—compounded processes, multiple-imaged. Tide like, the prints wave seen through the trace of the adjacent one. Luscious light-grabbing oriental mulberry papers serve as a matrix for the play of motion, water, and light that flow through, between, and over them.”
Nancy Oakley Klapp’s suite of large papier mache sculpture is, as described by the artist, “a complete departure from my usual process of art-making; a fungible notion with an undetermined end. The piece and I decide each step as we go. Teel Sale’s poems . . . create for me compelling eidetic images: potent, unique, highly signiﬁcant stimuli that arise within my mind. . . I experience a kind of synesthesia. Her words become colors, shapes, and context. And Teel’s poems not only compel me to translate words into the visual formal elements but give me the authority to depict mysterious characters (eels) that I know little about.”