Skip Arnold, Delia Brown, Janine Gordon, Sieglinde Klupsch, Kelly Lamb, Laura London
27 March – 24 April, 1998
Opening reception Friday March 27th, 6-8 pm
The Spencer Brownstone Gallery is pleased to announce the opening of a group exhibition entitled Identity Crisis. The exhibition features works in an array of mediums by Skip Arnold, Delia Brown, Janine Gordon, Kelly Lamb, Laura London and Sieglinde Klupsch. Transition, sublimation, codification, and fabrication of a personal reality informs these artists’ work. The substance of these explorations pose a myriad of contradictions in the ways that the individual is portrayed. Within the narrow limits of social constructs, exaggeration and manipulation is sometimes necessary to transmit the essence of personality. Style can be a signifier of subversive ideologies. Death is absolute in it’s anonymity. Conversely, obfuscation becomes simply an act of self preservation. Ultimately, that which defines character remains enigmatic. Our secrets may be what makes us human.
In her paintings of various female saints, Delia Brown consecrates the passage into womanhood. Pop renderings and a candy colored palette sweeten the memory of youth while acts of martyrdom follow the leap of faith into adulthood. Kelly Lamb’s repeated action in her video, (set to the score of “The Ecstasy of Gold” by Ennio Morricone), anchors the viewer to a sense of past while the turn of her ankles reveal the tension of opposites. In “Jumprope,” Ms. Lamb is caught between longing and a hesitant excitement that co-exist in a territory of choices. Laura London’s photographs are constructed narratives that depict the day to day lives of teenagers. Mimicking the popular “docu-drama” genre, Ms. London employs film making devices such as casting, direction, lighting and camera angles to provide a simulation of real life developed from personal and found snap shots, collected stories and imaginary scenarios. While “keeping it real,” Janine Gordon’s photographs and accompanying text addresses a language of encoded subversion present in counterculture style. Sieglinde Klupsch’s random photographs taken at markets, extract an incongruous beauty from a world of refuse and decay. Inadvertent compositions, Ms. Klupsch’s “remains” convey a startling animation, considering that which is constant as well as that which is mortal. Skip Arnold has made a career out of the objectification of his body. In his latest documentation of his performance “Spin,” he spins underneath a ceiling fan. Skip, as the artwork, looms larger than life.