FRACTAL MARCH 12 – APRIL 13, 2014
Campfire Gallery is pleased to present Fractal featuring new works on paper by Francis Berry, Tyler Bewley and Robert Larson with a reception for the artists on Saturday, March 22 at 6 p.m.
Fractal brings together three artists whose work is influenced by the underlying patterns found in our natural and urban environments. Organic and man-made elements are reconfigured into visual landscapes that seek to convey both order and chaos.
FRANCIS BERRYFrancis Berry, Recycled Landscape 121: The Architect, Colossus 2014 Collage: reclaimed painter’s tape, acrylic and ink on paper, 12” x 12”
Recycled Landscape Collages: Rather than contextualizing man in landscape, I contextualize landscape in man. Recycled Landscape reduces human elements to verticals and natural elements to horizontals. By converting the rectangular elongation of the traditional landscape format to a more restrictive square, human design and nature are framed on equal terms. With multiple landscapes crowded in a square format and several horizons stacked on each other, each Recycled Landscape reflects a meditation on the kaleidoscopic interaction between nature and human design.
Born in the United States of French-American parents, Francis Berry spent formative years in Switzerland and has pursued his vocation as an independent professional artist in San Francisco since 1984.
TYLER BEWLEYTyler Bewley, Untitled #3 Indigo pencil on paper 2013, 22 x 30 inches
Living in San Francisco, I am constantly inspired by the intersection of urban and natural surroundings. In pencil, acrylic, and gauche on paper and wood, I illustrate the conversation, and inherent tensions, between man and nature. My work celebrates the intricacy and delicate beauty of natural forms, while exploring the impact of humanity imposing itself upon our environment, contorting it and shaping it to our will. My drawings form a lens to illuminate and personalize the importance of our current ecological state and the need for stewardship and preservation in our future.
Tyler Bewley graduated from Skidmore College with a BA in Fine Arts and currently teaches art in Marin. His work has been exhibited in solo and group shows nationally over the past nine years and appeared in numerous publications. Most recently his work is part of Home: Shelter and Habitat in Contemporary Art, a group show at the Schneider Museum of Art in Ashland, Oregon.
Walking through cities collecting discarded materials is the fundamental process behind my work. I glean pigment from the urban landscape in search of color and texture—artifacts rich in time, history and experience. The resulting accumulation of post-consumer packaging records myriad human activities—a telling mix of pleasures, habits and addictions, including my own obsessive scavenging and appropriating.It is after these items have been discarded that an exciting transformation begins. Their once identical and uniform surfaces begin to fade and abrade with exposure to the elements—turning them from homogeneity into infinite variety. From this collision of man-made materials and the forces of nature a dynamic palette of weathered hues, tones and textures is inadvertently created.My work, while full of topical documentary evidence, explores most singularly the power of transformation—physically and perceptually. Initially the compositions appear to reside comfortably within the hermetic, self-referential tradition of minimalist abstraction. But upon discovering the true nature of the source material a tension is revealed between transcending inherent content and examining the nuanced relationships between the urban landscape, consumerism and cultural identity.
Walking, gathering and gleaning: these primal activities are at the core of Robert Larson’s peripatetic explorations and gritty appropriations in the urban landscape. For more than 20 years the Northern California artist has used the most mundane, discarded and forgotten materials to create work that addresses fundamental concerns, both current and universal. Presently employing photography and video as another means to “collect” raw material, Larson’s work continues to evolve as an intimate dialogue with the urban landscape.