Mason Riddle

  • Kn Thurlbeck

    In each of Kn Thurlbeck’s mostly large, brooding works, found objects are juxtaposed with a photographic fragment against a broad, empty field of paint. The oil pigment is thinned out so that it runs down a bit after it is applied, suggesting rain on a windowpane. These runnels of paint—primarily black—drip down over both photograph and object, partially obscuring their identity, sometimes exposing portions of unprimed canvas. The effect is to create a dense, moody atmosphere rather than textural weight.

    Thurlbeck’s fierce paintings invoke notions of spirituality, self-sacrifice, and dread. Their

  • Dorit Cypis

    Densely layered and deeply personal, Dorit Cypis’ nine-part Love after Death: A Renaissance took as its theme such shifting, abstract concepts as history, memory, culture, and desire, exploring states of mind rather than the corporeal environment. Identifying her mixed media performance as a “theater of mutability,” Cypis primed her audience for a half hour of change. Spectators were free to stand anywhere and even encouraged to move about as they were confronted with a constantly fluctuating tableau of audio and visual stimuli. Photographic images were projected on two scrims from the front

  • Eric Bainbridge

    Upon entering Eric Bainbridge’s show of five fake-fur-covered sculptures, one felt a bit like Alice when she tumbled into Wonderland and swallowed a pill that made her grow small. Looming up to 11 feet in height and comprising disparate forms whose identities are often obscure, the works are at once humorous and disconcerting. A low-slung dinosaur with a disjointed tail wears on its back a skyscraper, a ship, and a human head; a colossal swan is laden with a faucet, a rose, a ship, and two bulbous forms that look like furry hassocks. Uncomfortably distorted and abnormal in scale, the works by

  • T.L. Solien

    T L. Solien’s paintings and prints have always boiled up from a deep cauldron of personal experiences. Assuming an extremely personal narrative format, the content of his work is obscure, if not confounding, to those unfamiliar with themes or events in Solien’s private life. Although his cryptic iconography of mysterious orbs and pictographs and his motley cast of characters are psychologically resonant, little information is released to the uninitiated observer.

    Solien’s recent paintings, prints, and painted-metal sculptures reveal thematic and stylistic changes, although he continues to work