In keeping with the gallery’s on-going initiatives around art and the environment, CYNTHIA-REEVES is featuring a new project by noted conceptual artist, Steven Siegel, whose works consistently push the boundaries of how we view the detritus of our day-to-day life. Siegel’s works are created from recycled materials such as newspapers, aluminum cans and plastic bottles, which he recasts into site-based or landform sculptures. Wanting his biodegradable sculptures to have an impact on their surroundings, his works also challenge us to look again at how these discarded elements can be recast into meaningful and documentarian sculptures. Siegel’s work is beautiful. In its inherent beauty, we are pushed to re-visit the recycled papers, the plastic and bits of string, to find within this array of refuse a new coded language of our wasteful culture – in Siegel’s words, “a geological time capsule with its stratifications and layers of visual information.”
Siegel’s ambitious new project, A Puzzle for Alice, will ultimately consist of 160+ panels of historical “data” from his household, in which – due to the marvelous and seemingly spontaneous use of color and texture – the visual information seems to dance across the rows and up the columns of this complicated installation. The installation is so large, it may be impossible to show the entire work in situ; however, the artist has created a photographic montage as an integral part of the overall project, which will be available in the coming months. "I feel this piece is a reflection of how we see the world nowadays—with continuity being broken by lots of bits and bytes”, says Siegel.
As a counterpoise to the Siegel installation, the gallery is showing other works that harken directly to our intrinsic relationship to the natural world: the works of Korean sculptor, JaeHyo Lee, and his visionary use of quotidian materials highlight inherently complex wood end-grains in his dimensional forms; an impressively scaled new work on paper by Canadian printmaker Catherine Farish, whose evocative montage, “Many Moons” suggests a lunar dance in the language of collograph printmaking with found objects; Chinese abstract painter, Lianghong Feng, assumes a technical and cultural synthesis in his luscious canvases, drawing from the legacy of Chinese calligraphy, as he daubs and splashes paint in search of the hidden, natural image; and Rutherford Witthus’ scientific inquiry into how the unfolding of paper mimics the mathematical principles behind the expansion of the universe.