Kitchen Table Gallery is pleased to present Recurrence and Cadence, a two-person exhibition of recent works by Terrill Warrenburg and Kyle Triplett. With two seemingly opposite artistic practices: small, intimate watercolors by Warrenburg and large immersive light, clay, and wood installations by Triplett, the two artists find common ground through a meditative use of layering and repetitive elements, distilling their individual practices to emphasize the purity of line and light. Reducing their forms to basic linear elements, then layering and meticulously repeating them, whether it be small strokes of a brush or curved wooden stalks with clay, this pairing of work underlines fundamental and intrinsic parallels in art across disciplines.
Recurrence and Cadence will be on view from July 8th until July 25th, 2017. There will be an opening reception on Saturday, July 8th from 7 - 10pm. For further questions or to visit the gallery please contact Kitchen Table Gallery at email@example.com.
Combining light, wood, and ceramics, Kyle Triplett’s light installation boxes construct a sense of place, evoking vast, outdoor rural landscapes within the confines of an urban, warehouse gallery in Philadelphia. Based in Ruston, Louisiana, Triplett creates simulated space through repetitive elements; his remediation of information questions the natural and artificial experience of landscape, the picturesque, and romantic notions of the sublime. Place exists as an idealized space, a space where infrastructure and architecture are stripped away, replaced by his own structures of performance and intended objects. Triplett aims for his work to induce a form of transportative experience; for the viewer to be placed at the axis point of a vast panorama of nostalgia and expectation, the past and future, distance and adjacency, longing and satisfaction.
Based on her sustained interest and prior education in music, Terrill Warrenburg’s work in Recurrence and Cadence includes smaller, intimately-size works on paper, each created while listening to a specific song, as well as a 20 foot scroll in which she listened to 10 hours of music and made a mark, or attempt at a mark, at each beat. Interested in entering the state of flow where the conscious mind takes the backseat to the subconscious, Warrenburg began with an examination of the automatic marks of her hand, which tired and deviated as time and melodies progressed. After this performative act, she poured layers of paint on top of the still wet watercolor, attempting to mitigate her tightly controlled lines and employing color as a conscious choice of expression in tune with the music playing. Time, light, and line are looped and layered in this series - yet it is Warrenburg’s interest in creating a specific mental space for herself that keeps her creating these durational works.