grayDUCK gallery is pleased to present Objectivity, an exploration of all things object:
object memories, objectification and the deconstruction of objects. The exhibition
features mixed media and photography by Annie Feldmeier Adams, Jennifer Leigh Jones,
Nadine Y. Nakanishi and Scott Wright.
Annie Feldmeier Adams
Louis Marx & Co. introduced the Campus Cuties toy
figurines in 1964. The six-inch tall, flesh-toned beauties
inspired this photograph series. The alabaster plastic and
the proportions of each Cutie make them simultaneously
beautiful and unsettling. The Campus Cuties prints have
three styles: individual portraiture, group psychological
battles and individual cuties in front of travel postcards.
The figurines are placed in silent group battles, gossiping
and gazing, approvingly or disapprovingly at each other.
The travel dolls stand-alone, they dominate the postcard
backdrop making male dominated public landmarks and
landscapes submissive to a female
presence and gaze.
Jennifer Leigh Jones
Jennifer’s work revolves around memories
of family and loss. Each piece serves as an
exploration of her childhood and an outlet
for her thoughts and emotions. Using a
range of different materials on each piece
delineates the objects from one another as
well as time and place. Her work has found
a calm eye in a chaotic storm and each
piece embodies both pain and a reflective,
tranquil place that can be found in the aftermath of struggle.
Nadine Y. Nakanishi
Nadine’s interest lies in developing a contemporary dialog
between the principles of form and color. That means carry
ing on the tradition of the abstract expressionists, while
forming her own approach and aesthetic in response to it.
She concentrates on overcoming the ambiguity that abstract
imagery evokes. Clarity is her goal and reduction is the
means to accomplish it. The process of simplification allows
her to de- and reconstruct, creating a space where form,
texture, line, composition, color and perspective are no
greater part without the other. Abstract art that invites rather
Scott’s intent is to draw out the memories of
aged and battered objects, imbuing them with
new life, re-imagining their purpose and mean
ing, while paying tribute to their history. He
plays with those memories, juxtaposing them
against one another in an attempt to subvert
the ostensible object, while harnessing its
respective power in a new relationship. In
combining contradictory vocabularies, the goal
is to achieve a meaning beyond, or between
the boundaries of its individual language.