September 11 - October 23, 2021
From McClain Gallery:
“McClain Gallery presents Cloud Cover, a group exhibition focused on contemporary abstraction and materiality, featuring Edith Baumann, Anne Deleporte, Alteronce Gumby, Hong Hong, Terran Last Gun, and Elaine Reichek. The works in the exhibition propose legibility with or without text or pictorial references; they often point toward color, texture, history, nature, and mythology as cues for meaning.
The exhibition title alludes to both the generosity of abstraction and its inherent ambiguity. In meteorology, Okta is a cloud cover measurement that divides the sky into eighths and momentarily defines something prone to atmospheric change. This area, represented with graphic symbols, becomes a record tied to a specific time and place, bound to change in appearance and essence at every moment. The Okta measurement only indicates sky coverage, not the particular cloud type or density, and is therefore a palimpsest of human perception. The artworks in Cloud Cover are situated in a similar plane of observation: they can equally function as a record of time, presence, atmosphere, and intention.
Elaine Reichek’s embroidered text on linen explores the relationship between language and invisibility, how unseen thoughts are materialized, how words often leave things paradoxically unsaid and thus out of sight, and how the past is threaded into and through the present. Edith Baumann’s paintings balance improvisation with structure. She applies hand-ground pigments in veil-thin, almost transparent layers to yield a surface that highlights her interest in the mysterious and taps into energies influenced by the space and movement between objects, sound, light, and meditation.
Anne Deleporte‘s practice investigates ideas around disappearance, accidents, chance encounters, and found imagery. The artist’s work often relies on process: two newspaper-based works reclaim offcuts from residual cleaning of ink drums and are intrinsically tied to abstract painting and the nature of printmaking. In the Leapling series, she associates the spindle shape (rendered here on paper and in ceramic) with the concept of a manuport as an ancient object.
Alteronce Gumby’s shaped paintings enhance a dialogue between spirituality and abstraction. His heavily textured works are an explosion of concentrated color, and hover somewhere between ethereal and earthen. Hong Hong’s large-scale paper pulp works are made in the course of a day, and always outside. She notes the “exterior pours stage collisions between primordial forces (sky/earth, interior/exterior, day/night), while the terrestrial journeys examine the symbolic qualities of the land and the act of navigation. Soil, like newly formed paper, is a flexible body, whereas the sky seems to be a closed corridor between the known (earth) and the unknown (the universe).”
Terran Last Gun‘s drawings on ledger book paper merge Piikani art form and imagery within the context of 20th century art movements. He employs a visual language that infuses form and color with indigenous symbolism to create new portals for accessing these histories. Last Gun explains his artwork and the influence of Blackfoot culture as “a visual interpretation of nature, the cosmos, cultural narratives, and recollections in reduced geometric aesthetics and vibrant energetic color harmonies. (…) Piikani or Blackfoot painted lodges are visual masterpieces of the Great Plains and are pre-European invasion classic art. [They] depict the world in which we live, through geometric geological landmarks, figurative animals, and the above world that connects us to Natosi (Sun).””
Reception: September 11, 2021 | 2–4 pm
2242 Richmond Avenue
Houston, 77098 TX
(713) 520-9988Get directions