Dimensions

Kristin Paxton
Oct 16, 2014 12:03AM

The narrative is a long-surviving element of art that has recorded history and immortalized fables, but in a world where written word dominates “the story”, this can be easy to forget. Beyond the leather-bound plane of literature, an entire universe of narrative exists, untapped, in unexpected forms and unexpected places—and while it isn’t true that every piece of art will communicate a story, a story can certainly be made given context. This is where Dimensions comes in.

To uphold the theme, the pieces selected for this installation focused on two key characteristics: first, a compelling science-fiction fueled narrative within the work, and second, the relationship between the medium’s actual dimensions and the dimensions that it implies. For example, Suzie Q by F. Scott Hess was selected for its fantastical subject matter as well as the bold, three-dimensional appearance of a two-dimensional painting. Likewise, Transmission: Alpha Omega by Jason Bly was selected for the two-dimensional qualities of the painting that are complimented by three-dimensional found objects.

Other artists, like Kenichi Yokono, have a different approach. Yokono creates woodblocks that focus on tropes within anime, manga, and horror—but rather than using the woodblock to create prints, Yokono’s pieces are hung as-is. The eerie environments and horror figures carved into the wood appear deceptively flat until approached, when their true dimensions are revealed. The opulent details and strong use of line set the stage for convincing, if vague, narration.

Exhibition spaces for Dimensions should complement the theme without cluttering the floor space. The Trois Gallery located in SCAD-Atanta offers a simple palette for the artwork to be placed, and the white walls will allow an arrangement of magenta, cyan, and yellow mood lights. Savannah Film Studios located in SCAD-Savannah is a reasonable alternative, although the sofas and tables would need to be removed for more floor space.  The industrial aesthetic would accompany the sci-fi motif well, and the spotlights that are arranged around what could potentially be a gallery space are perfect for washing the white walls with color.

The intent of this exhibition is to toy with the limits of our imagination by deconstructing our concepts of form. Because of this, the concept of lighting in the show is very important; the magenta, cyan, and yellow spotlights can each be viewed as their own “dimension”, building a narrative throughout the night. The environment in the showroom is intended to provide a “context” in which the viewer can experience the work under different conditions and to help stimulate the innate narrative in each piece.

Kristin Paxton
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Jenna Gribbon, Luncheon on the grass, a recurring dream, 2020. Jenna Gribbon, April studio, parting glance, 2021. Jenna Gribbon, Silver Tongue, 2019