Leeanne Maxey: “Judith Butler Already Wrote About That.”
Commonwealth Gallery
February 1st, 2016
This show was great, and the work was superb. The space is a little odd, with walls constantly interrupted by doorways, windows, heaters and poles, so that space itself is a little challenging in relation to hanging. That said, this show was a wonderful use of the space, with the work hung well in relation to itself. Along the first wall, on the left-hand side when you enter the gallery, there is the title, as well as the series of small, framed watercolors. There is another painting, of ferns and greenery, in exquisite detail but also separating into abstraction with its flatness.
These lead along that wall to the next wall, on which is hung a textile print, and on top of which an oil painting, which, in my mind, is the first draw of the show, as it faces the main entrance confrontationally. It is a painting of legs, framed by lacy underwear, with one lip of the labia overlapping the outer edge of the lace. This painting is perfect, both in its detail and encouragement of looking, as well as how uncomfortable it makes you looking at it, as if you are invading a very personal moment and space. This was the focal point of the exhibition.
After this painting, you proceed clockwise around the gallery; you encounter Maxey's more abstract work, focusing on the use of arms in relation to nature, specifically lawns. Hearing Maxey’s talk, she is wonderfully expressive about her work, her concepts, and the comparison of the human-curated nature to the nature of humans themselves. Her work ranges from watercolor on paper, to watercolor on panel, to oil and printmaking.
As you make it all the way around the gallery, you encounter the last painting, an abstract painting with a lattice, which toggles easily in between realism and abstraction, done in watercolor and acrylic, which really rounded out the whole exhibition. The show was well curated, well spoken about, and I thoroughly enjoyed the work.
February 3rd, 2016
- Caitlyn Kenney
These lead along that wall to the next wall, on which is hung a textile print, and on top of which an oil painting, which, in my mind, is the first draw of the show, as it faces the main entrance confrontationally. It is a painting of legs, framed by lacy underwear, with one lip of the labia overlapping the outer edge of the lace. This painting is perfect, both in its detail and encouragement of looking, as well as how uncomfortable it makes you looking at it, as if you are invading a very personal moment and space. This was the focal point of the exhibition.
After this painting, you proceed clockwise around the gallery; you encounter Maxey's more abstract work, focusing on the use of arms in relation to nature, specifically lawns. Hearing Maxey’s talk, she is wonderfully expressive about her work, her concepts, and the comparison of the human-curated nature to the nature of humans themselves. Her work ranges from watercolor on paper, to watercolor on panel, to oil and printmaking.
As you make it all the way around the gallery, you encounter the last painting, an abstract painting with a lattice, which toggles easily in between realism and abstraction, done in watercolor and acrylic, which really rounded out the whole exhibition. The show was well curated, well spoken about, and I thoroughly enjoyed the work.
February 3rd, 2016
- Caitlyn Kenney