MARC SEGUIN
Closed Circuits
September 11 to October 9, 2004		  
     
   

As a figurative painter Mark Seguin is intrigued with conditions of psychological stress. Using a monochromatic palette he strings together images of alienation, mental unrest and the subconscious to provoke and disconcert the viewer. In Closed Circuits Seguin’s paintings are inspired by stroboscopic light. His canvases display, in a flash, a moment much like that of a still frame from a movie. The abysmal black background erases everything from the event except for a solitary figure caught in a state of suspended anticipation. The figure’s anonymity allows the viewer to empathize, while the tension on the canvas between figuration and abstraction undermines any sense of ease.

Seguin withholds emotion. His figures fluctuate between moments of anguish and moments of repose, reflection and meditation. “I like the images to refer to a solitary human state and impose silence on the viewer,” he explains. Faced with the dilemma of dealing with an unfinished moment, the viewer is left intimately engaged in an emotional enigma.


 

 
   
One Figure
Charcoal and Oil on canvas
60" x 84"
2004

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ROSALIND GOSS
cache-cache
 September 11 to October 9, 2004		  
     
   

Rosalind Goss’ recent exhibition of oil stick and graphite drawings on mylar originate in the child’s game of cache-cache, the playful French translation of "hide and seek".  Goss’ childhood memories of this game resurfaced while playing it with her daughter. From the small details of domestic life emerge metaphors.  As with all childhood games, cache-cache resonates on different levels, psychological, spiritual and political.  People hide from themselves, from one another, from the truth, and from the more insidious abuse and violence of the world at large.  Beyond the duality of hide and seek, other dualities emerge: protection/threat, innocence/evil, earthly/ethereal.

Drawing is the simplest and most direct medium.  Goss works spontaneously, allowing the drawings to flow without judgement. Lines of oil stick and graphite are smudged, blended, erased and hidden, then additional markings are added. The images are simple: of hiding behind, under, over, inside; of seeking high and low. The artist’s drawing process reveals and conceals. Multiple readings are possible. The game begins anew with each drawing.


 

 
       

Untitled
Oil Stick and Graphite on Mylar
19" x 33"
2003

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