SGCI 2012: Worn Out

The following is a guest post by Kelly Parvin.

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Worn-Out, the collaborative work and live-printing of artists Tim Dooley and Aaron Wilson was a featured event and exhibition at artist collective space/gallery, The Front in New Orleans as part of the 2012 SGCI conference.  The invitation to the gallery stated “culturally and aesthetically ‘worn out’ imagery is both resuscitated and strangled via the process of screen printing in this collaborative exhibition.” Dooley and Wilson focus on a narrowed and thoughtfully considered theme set to deliver their message. Images that have popular culture value such as unicorns, Bigfoot, and the Real Housewives are brought into new context. Through multiple drawings and extensive print layers, these images are reinvented. Placement of these editions in the gallery space also significantly shifts the digestion of the image.

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Modern Zombies (above) is a featured edition with images of well-known art figures such as Duchamp, Braque, De Kooning, and Albers, just to name a few. The images are layered portraiture, names, and gestural marks. The artists featured in these prints are some who’s work can be seen in museums and text books. Are we over saturated by these artists and their work? Through scale and sophisticated marks, the zombies capture a feeling of dominance and intrigue. The wall of Modern Zombies looks over toward Triple Rainbow, an edition of unicorns that are layered creating a sense of movement in the prints. The motion of the unicorn is magical in its simplicity. Triple Rainbow stands out from the unicorn of cartoons and stickers as a more beautiful image of a unicorn, one that captures the intangible reality. Are Modern Zombies the past artists facing Triple Rainbow as a representation of future artists?

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More images & review after the jump.

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In the bank of BFF (Neutral) prints (below), Bigfoot with a serene beauty, gazes across the gallery space directly at The Real Real Housewives (above), a group of images that have been layered with color and mark selection that feel similar to fingernails scratching a chalkboard – in a great way. The disturbing redistribution of roles leading the viewer to question which creature is the monster is a wonderful imbalance. Futile Gestures, several screenprint images on wooden panels, share a portion of this space in the gallery. The gestures are simple, confident, beauty. The gestures allow the viewer time and space to explore the amazing layering, skill, and color sophistication of Dooley and Wilson’s work without being boxed in a preexisting image notion.

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In the final area of the gallery, Dooley and Wilson are live-printing Remixes, from a complex key of 16 images and a huge array of premixed inks that are printed directly over found LP covers. Remixes go through several rounds of printing and collaborative discussion before being rereleased.

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Tim Dooley and Aaron Wilson create a story for the viewer to experience in Worn-Out. There is a wonderful spinning of clichéd images into an overwhelming storm that the viewer can find reprieve throughout in the exquisite nature of the richly layered and emotive marks of each print.

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Categories: Artists, Artwork, Exhibitions


One Response to “SGCI 2012: Worn Out”

  1. christine says:

    Always fun to see what these two are up to. I taught for one semester at UNI and they were super sweet to me in my commuter adjunct days.

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