Nobile & Amundsen began two years ago as an experimental collaboration with Work Program Architects to contribute to the art dialogue in Norfolk, VA. In that time we've been honored to work with talented artists near and far. Thank you, WPA, and everyone else that has supported us. It’s been a fun ride.
Our final exhibit, End Transmission, features artwork by:
Schuyler Beecroft, Hampton Boyer, Adrian Landon Brooks, Christiana Caro, Leigh Anne Chambers, Vittorio Colaizzi, Peter Eudenbach, Sheila Giolitti, Brad Hall, Randy Hess, David Johnson, Bob Lake, Nikki Leone, Christopher Mahonski, Wade Mickley, Daniel Moore, Thomas Moore, Suzanne Peck, Lee Piechoki, Charlotte Potter, John Roth, John Rudel, Tim Skirven, Jason Stick, Jordan Swartz, John Sebastian Vitale, and Thom White.
Tim Bearse’s sculptures and mixed-media artwork reference the composition, form, and velocity of skateboarding videos. His objects, which at first glance appear to be modernist abstractions, borrow their shape from concrete swimming pools and community-built ramps. The referents, and their larger culture, are specific, though they ultimately point toward something larger: the built environment's capacity for intervention, collectivization and empathy; the creative potential of kinesthetic awareness; the complexities of tactile, modular forms; and speed as a method of non-lingual communication.
In addition to Bearse's three-dimensional pool models, all sourced from archival skateboard magazine sketches, ephemera from existing skate sites are layered into and on top of his objects. Together, they create a larger collective archive, or super model. Bearse cites the work of mid-century sculptors such as Barbara Hepworth and Frederick Kiesler as critical to the evolution of modern sculptural abstraction and a reclamation of the individual and cooperative craftsmanship in industrial materials.
Bearse received his BFA from Massachusetts College of Art and an MFA from Virginia Commonwealth University. He’s currently a visiting assistant professor at The Ohio State University.
Paul Simmons approaches his paintings like a handyman plying his trade. His work imagines a dialogue between crafted objects and fragmented forms, embracing experimentation. Paintings and drywall objects reference the architecture of the viewing space by treating them both as conceptual and concrete terrain to be explored.
His work has been shown at numerous venues including Sculpture Center, Cleveland OH; Golden Parachutes, Berlin DE; Moscow Biennale for Young Art, Moscow RU; and recently at Parallel Art Space, Brooklyn NY. Simmons received his BFA from The School of the Art Institute of Chicago and an MFA from The Ohio State University. He currently lives and works in Brooklyn, NY.
John Edward Welch (1918-2011) was a self-taught sign painter and artist, and longtime resident of Newport News, Virginia. His mixed-media paintings combine African-American history, biographical portrayals of cultural figures, and social commentary. Working in obscurity until 2010, Mr. Welch garnered the art world’s attention at age 93 when his artwork was exhibited at the Ricco/Maresca Gallery in New York City.
This exhibition was co-curated by Thomas Moore, who is an artist, and Senior Curator of Photography at the Mariners’ Museum in Newport News, Virginia.
Special thanks to Michelle Erhardt, Anna Holloway, Thomas Moore and Elaine Viel for loaning artwork for this exhibition.
A special exhibition co-curated by Nobile & Amundsen, Deborah McLeod and Amie Oliver for Rawls Museum Arts.
Artists: Tim Bearse, Hampton Boyer, Genesis Champan, Don Crow, Peter Eudenbach, J. M. Henry, Randy Hess, Ken Horne, Karen Hubacker, Rebecca Kamen, Nikki Leone, Liz Liguoiri, Christopher Mahonski, Jessie Mann, Sally Mann, Cindy Neuschwander, Bruce Wilhelm, the Mountain Lake Workshop, and Millicent Young.
Jenny Hueston’s photographs are a visual record of subcultures and communities, and the surroundings in which they exist. Her work has been recognized by The New Yorker and she travels extensively for her ongoing photography projects. Hueston currently resides in Los Angeles, California.
Elizabeth Huey's paintings and collages reflect a broad spectrum of quandaries surrounding humanity and healing. Luminous pairs exchange intimate caresses while individuals immerse themselves in remedies and recreation. Myriad forces — nature, architecture, and history — impact the minds and perceptions of each protagonist. Chaos and order collide and coalesce in the paint handling and spatial constructs. Excavating imagery from a diverse array of sources, Huey continually draws from her own photographs as well as her ever-expanding collection of found photos.
Born in Virginia, Elizabeth Huey presently lives and works in Brooklyn, New York. Before obtaining her MFA from Yale University, Huey earned a BA in Psychology from George Washington University and studied painting at both the Marchutz School in Aix-en-Provence, France and the New York Studio School of Drawing, Painting and Sculpture in New York City. She has been awarded an Artist Research Fellowship from the Smithsonian Institution, a travel fellowship to Italy through Johns Hopkins University, a Terra Foundation of American Art Fellowship and Residency in Giverny, France and most recently, an Artist Residency at Yaddo in Saratoga Springs, NY.
Bofill's work for this exhibit references both Jung's concept of primordial archetypal patterns and Lao Tzu's "uncarved block", a Taoist metaphor for a primordial state of being one returns to. Inside the gallery Bofill asks the viewer to consider the carving into or attaching onto Lao Tzu's block as a manifestation of Jungian archetypes. Also, where might the egoic representation of self be in the installation?
Ramon Bofill received his MFA from Rhode Island School of Design in 2005. His use of repurposed fabrics and traditional painting media result in hybrid surfaces that are a mixture of painting, tapestry and sculpture. In the process of intuitively and playfully re-contextualizing fine art and craft materials, Bofill explores issues of identity and cultural heritage, as well as broader themes of manual labor, art, aesthetics and social class. Born to Cuban-American parents, Bofill was raised in Miami, FL. He currently lives and works in Norfolk, VA.
A master of color composition and in the use of disruptive patterns, Wierzbowski's work often explores the ambiguous relationship between the model and their surroundings: Everyday settings become unconventional spaces and ordinary occurrences become extraordinary happenings in a seemingly random sequence of captured moments-in-between. Wierzbowski’s work has been exhibited widely; with solo shows at the Czarny Neseser Gallery in Wroclaw, Poland (2012) and the Nizio Gallery in Warsaw, Poland (2011) together with inclusion in numerous groups shows around the world, in cities ranging from New York, Los Angeles, London, Berlin, Moscow, Madrid, Rome, Milan, Melbourne and Taipei.
Dearraindrop is an artist collective from Virginia Beach, Virginia. The collective incorporates painting, collage, video, clothing and sculpture to create multi-faceted and immersive installations. They’ve had solo exhibitions at P.S. 1 MOMA, The Hole, and Deitch Projects in New York; Perugi Artecontemporanea in Italy; and GAD in Norway, amongst other venues worldwide. They’ve also done collaborative projects with artist Kenny Scharf and have a large-scale mural at Wynwood Walls in the Miami design district. Dearraindrop is Joe Grillo, Billy Grant and Laura Grant. !&@%?! is their first exhibition in Virginia.
Long after the era of pictures as truth serum, we continue to crave and enact them. Talk About Your Best Day Outdoors may include: “without your eyes open…” and the day someone told you about, the place you attached a feeling to that you’ve never seen but can imagine. These are not memories or fantasies, but semi-opaque sensations prior to action. Caro’s starting point is a selection of photographs made during excursions to local cultural museums and their attendant landscapes. These works reflect on events of omission, presentation and assumption about place and regional identity. They set the stage, but lead off in any number of directions: the great outdoors, but also the small swatch of grass an dirt you call the yard.
Known as the Wolfpeach, it took 500 years for the tomato to get here. Found in the gardens of Montezuma, the tomato was brough to the west after Cortez killed him. Misunderstood as poisonous because it is a member of the nightshade family, it was taken as an ornamental plant for its beautiful yellow fruit. On its way east, the tomato traveled right passed St. Martin and the philodendron it was destined to join with so many years later. Unlike the tomato, the philodendron would be brough over and remained a decorative prize only for its durability. Bound by a process as old as technology, these two seemingly desparate entities couple under the soft coo of a saxophone.
Matt Spahr, a sculptor from California, and Valerie Molnar, a painter from Ohio, are based in Richmond, Virginia, where they’re both instructors at Virginia Commonwealth University (VCU). As friends and colleagues who visually solve similar problems in different ways, their work comes together in this debut collaboration, The Secret Life of The Tomatodendron.
Through drawings, paintings and murals, Hampton Boyer creates anthropomorphized characters that are equally overwhelmed and entertained by the grey areas of their surroundings. Swimming in negative space freakish birds, blobs with sunglasses, and crotchety spheres humorously puzzle over aspects of youth subculture, mortality, transparent ulterior motives, and blind allegiance to empty pleasure.