
I WALK THRU WALLS
I WALK THRU WALLS
MARCH 8 - APRIL 18, 2022
"Many men drove Magic, but Magic stayed behind.
Many strong men lied, they only passed through Magic and out the other side."
- Leonard Cohen
More important than whether you believe in magic is the acknowledgment that magic exists only where there is belief. If one can't imagine a bridge between the visible and the invisible, then such a chasm can never be crossed. More than just a separate world, magic is a "middle" -- much like a life that is lived between the memorable. Magic's marrow is the poetry of the unspoken, the silence of the unsayable, and the ghost in the gap between translations. Magic isn't the mountain itself but rather the realization that the mountain top forms the bottom of an unfathomable sky.
"We are surrounded by the absurd excess of the universe. By meaningless bulk, vastness without size, power without consequence. The stubborn iteration that is present without being felt." - Jack Gilbert
The artist is the most qualified interpreter of the incantations of our spirit-selves. The unnamable, untethered essence of what is commonly called "spirit" is easy to catch, hard to hold but also almost impossible to portray in a painting due to the finite's inability to define the infinite. Spirit and humans were once Gods, Goddesses, and great things but because the ones that came before us believed themselves separate, we are caught in a cycle of always relearning and reinterpreting a planet we thought we would leave. Luckily, as the body fades the spirit flourishes and likewise in painting -- when greatness is articulated something transfers from artist to object that will forever reignite in each new viewing.
Every great painting is a postcard to our future selves, but also a breath and bookmark in the middle of our eternal story that is always unfolding. Magic, too, is a necessary pause and punctuation and, in its reflectivity, it removes any illusions of separation. Endings are necessary only for the written word. "Middles" are places where both sides are realized as one -- points of connectivity contracting and expanding. These perpetual places of passage are hallways to the heart and artistic arteries from which flow everything seemingly hidden and everything genuinely revealed.
- text by Benjamin Terrell
Christopher Charles Curtis
Untitled, 2020
pencil on paper
Image: 3 x 4 in (7.6 x 10.2 cm)
Paper: 12 x 9 in (30.5 x 23 cm)
Alexandra Duprez
Dans l’eau (In water), 2021
oil on paper mounted to panel
11 1/2 x 11 3/4 in
29 x 30 cm
Agnese Guido
The last thought is coming, 2019
gouache on cotton paper
9 1/4 x 12 in
23 x 30.5 cm
Larysa Myers
Eyes to See, 2021
graphite on Japanese paper
11 3/4 x 8 1/4 in
29.8 x 21 cm
Stefanie Popp
Wielki Wòz (Paloma), 2020
oil on canvas
26 3/4 x 23 1/2 in
68 x 60 cm
Nereida Patricia
My Dreams Taught Me, 2021
Glass beads, glass dust, glitter, acrylic, paper clay on wood
49 1/2 x 49 1/4 x 5 in
125.7 x 125.1 x 12.7 cm
Jenna Ransom
Cornucopia, 2021
graphite on back of found blue print
38 1/2 x 31 1/2 in
97.8 x 80 cm
JJ Cromer
The Transactional Interpretation, 2020
mixed media on paper
10 x 8 in
25.4 x 20.3 cm
Oliver McConnie
The Tragedy Model (war), 2020
etching
7 3/4 x 12 in
20 x 30.5 cm
Danilo Stojanović
The Everlasting Question, 2021
oil on jute canvas
17 3/4 x 15 3/4 in
45 x 40 cm
Alex Müller
Die Zeit verweilen (The time lingers), 2016
ink on cotton
20 1/2 x 15 1/4 in
52 x 39 cm
Mary DeVincentis
When the Stars Come to You, 2018
acrylic on panel
24 x 18 in
61 x 45.7 cm
Alex Müller
Immer gab es nicht so viel Kaffee ( There wasn't always that much coffee), 2020
espresso and ink on canvas
39 1/4 x 31 1/2 in
100 x 80 cm
ZD Sands
FVNGICAL MANTRAS, 2021
ink on paper
11 1/2 x 9 1/4 in
29 x 23 cm
ELEVATOR TEETH
every place, 2019
graphite on paper
8 1/2 x 5 1/2 in
21.6 x 14 cm
Lysandre Begijn
The Prophet, 2021
acrylic on wood with African fabric
42 1/2 x 32 1/2 in
108 x 82.5 cm
Marenne Welten
Relics, 2020
gouache collage on paper
image: 14 1/2 x 11 3/4 in (37 x 30 cm)
paper: 25 x 19 3/4 in (65 x 50 cm)
Alexandra Duprez
Black arms (De dos), 2021
oil paint, collage and crayon on paperboard
9 1/2 x 6 in
24 x 15 cm
JJ Cromer
The Death of Benign Authority, 2021
mixed media on paper
11 x 8 1/2 in
27.9 x 21.6 cm
Lysandre Begijn
Adhista Power of the Sun, 2022
acrylic on canvas
19 1/4 x 15 3/4 in
49 x 40 cm
Mary DeVincentis
Endymion and Selene, 2020
flashe on panel
14 x 11 in
35.6 x 27.9 cm
Stefanie Popp
Aṣṭāṅga Namas-kāra (Secret Kingdom), 2021
oil on linen
23 1/2 x 19 3/4 in
60 x 50 cm
Christopher Charles Curtis
Untitled, 2020
pencil on paper
Image: 3 x 4 in (7.6 x 10.2 cm)
Frame: 13 X 14 X 1 1/4 in (33 x 35.5 x 3 cm)
ELEVATOR TEETH
how it ended, 2021
graphite on paper
11 x 8 1/2 in
27.9 x 21.6 cm
Jenna Ransom
Bird In Night, 2022
oil on canvas
16 x 12 in
40.6 x 30.5 cm
Marenne Welten
Relics, 2020
gouache collage on paper
image: 14 1/2 x 11 3/4 in (37 x 30 cm)
paper: 25 x 19 3/4 in (65 x 50 cm)
Agnese Guido
In despite of that, keep on pushing on, 2020
gouache on cotton paper
9 1/4 x 12 in
23 x 30.5 cm
Oliver McConnie
The Din of Capitalism, 2018
etching; ink on Somerset paper
8 1/2 x 12 1/4 in
21.5 x 31 cm
Danilo Stojanović
The Earring Snatcher, 2020
oil on canvas
9 3/4 x 7 3/4 in
25 x 20 cm
ZD Sands
FVNGICAL MANTRAS, 2021
ink and pigment on paper
26 x 20 3/4 in
66 x 53 cm
Nereida Patricia
Pigeon Lady, 2021
Glass beads, glass dust, glitter, acrylic, paper clay on wood
48 x 60 x 3 in
121.9 x 152.4 x 7.6 cm
Larysa Myers
Open Your Eyes, 2021
graphite on Japanese paper
11 3/4 x 8 1/4 in
29.8 x 21 cm
FEATURED WRITER
Benjamin Terrell lives and paints along the McKenzie river in Oregon. He currently writes for TheSemi-Finalist.com and has written for The Register Guard. His writing and painting was most recently included in the exhibition, Here Come the Suns curated by Uwe Henneken and held at Bark Berlin Gallery.