Staccato: Kate Bonner, Lauren Clay, Sean Talley, Rachel Williams @ Some.Time.Salon, San Francisco [10 June]

Staccato: Kate Bonner, Lauren Clay, Sean Talley, Rachel Williams

16:00 - 19:00

 Facebook event page
Walter Street, San Francisco, California 94114
Join us for the opening of Staccato — works by Kate Bonner, Lauren Clay, Sean Talley, Rachel Williams.

Opening — Saturday, June 10th, 4 — 7 PM.

Staccato finds Zadie Smith’s description of “pure cinema” in works by Kate Bonner, Lauren Clay, Sean Talley, and Rachel Eulena Williams: an “interplay of light and dark, expressed as a kind of rhythm, over time.”* The artists’ lines are woven together in a delicate dance of material structure and dynamic color. Elements of their daily life are translated into truncated notes and scrawling lines, creating dense histories of space in self-contained works.

Kate Bonner manipulates photographs by cutting, folding, scanning, and photoshopping them—thus removing the significance of place and time from her reference imagery. The resulting compositions are printed on machine-cut MDF which she assembles into bisecting planes of wood. The blend of imagery, abstraction, and negative space creates beguiling architectural depth.

Lauren Clay’s monochromatic, geometric sculptures are a more direct reflection of her persona and interests. Her most recent works are embodiments of yogic asana (physical postures)— autonomous objects whose lyricism & subtlety depart from the direct linearity of modernist masculine structures.

Sean Talley’s drawings and sculptures (both in clay and steel) are artifacts of a digital fascination. The consistency of the strokes, hard lined edges, and symbols reminiscent of computer gaming. Like a musical score, Talley's marks are but abstract symbols, dots and lines. The artist's deft use of composition informs context and meaning.

Rachel Eulena Williams’ intricate structures of rope and cut, painted canvas are flowing abstractions. She copies handwritten signage around New York City into her paintings as a means of connecting to community and honoring a dying art form. Though often illegible, or barely discernible as text in her finished work, the symbols of language and the arced shapes of her cut canvases lend a phonetic relationship to the figures, sound sans words.

*Zadie Smith, Swing Time (New York: Penguin Press, 2016), 3.

Images from left to right: Sean Talley, whit3Sleep37, 2015, Graphite powder on paper with frame; Kate Bonner, Speculative Things, 2016, Acrylic ink, acrylic paint on wood. Lauren Clay, Atman, 2016, Paper pulp, plaster, paper mache, wood.
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