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“This work is about the subtle interaction of color linking memory to the perception of experience.” Kristen Cliburn describing her work.

“By destabilizing or challenging the spectator's perception (and expectation) of what the language of violence is and where the ‘locus’ of violence resides,you bring him/her into a deeper understanding of the problem. ” Luis Duno-Gottberg’s musing on Gerardo Rosales’ work.

“It's a ‘facade that reflects an alice in Wonderland swimming into a vision of flux. An art thing whole and broken looking for its redemption. Its redemption that answers with the strange and weird and familiar and ready. Ready for life’s unfolding of Tom's moving thumb and the bean stalk.‘” John Hernandez musings.

“‘The Void’ series explores the idea of lost or irretrievable memories using as a basis, abstract paintings that utilize flowers and flower pigment. Sentience is built upon the constant interpretation and acceptance of memory as a repository for the consequences of daily life yet typically, only fragments remain. The constructs involved in the work both obscure the original idea and allow for a new reality which again must be consigned to memory. ” Chris Bakay.

“‘The Construction of Believable Things’ explores the relationship between nature and construction, specifically that middle line where constructed things become believable. I am interested in belief systems and how the moment of believability is comprised of many components. Inherited ideas, rational thought, and public opinion are a few factors that form the landscape of popular belief, most importantly for me being the thoughts I inherit and choose to pass on. These inherited thoughts are constructed through generations but also have an “always-already” naturalness. I think a lot about what is natural and what is constructed, consistently finding difficulty differentiating between the two. ” Brad Nelson 1

“...The later works use composition to show the innate strength of the chosen subject. The subjects are viewed in silhouette in the manner we notice them at the periphery of our vision and awareness. The way we sense their presence or when we have a quick glimpse of forms in silhouette but know them to have three-dimensional form. I continue to search, through my drawings, to understand how marks on a surface create a visual tension between power and fragility. ” Corinne Jones 1

“For sometime now my work has been involved in what is present and what is hidden. I am always wrestling with what is legible and what is illegible in the paintings--depicting some things and obscuring other information. This has to do with many things, including notions of the private and the public, deception and honesty (both perceived outwardly and directed inwardly) etc. In some of the works I was thinking more distinctly of the impact of power…and in other paintings what one might consider knowable. These general organizing ideas have informed both how and what I am making. Like a poetic turn of phrase, the paintings culminate in a form that is evocative and rich. They are never meant as illustrations of the above ideas, but instead emerge from my reading and thinking about such things. ” Matthew Bourbon 1

“‘Prototype 180’ is an urban alteration that entails a radical form of renovation through the physical rotation and reoccupation of a single family house in the aging, first-ring subdivision of Sharpstown in Houston, Texas. In conception and planning for over 10 years, the project is temporally, physically, and structurally organized around its catalytic rotational transformation. While the rotation and relocation of the house on its lot interrupt the relation of the house to its existing street they also signal the altered life of the house as a space devoted to a program that will address the issue of aging first-ring suburbs and their futures. ‘Prototype 180’ strategically intersects conceptual art, social activism, urban legislation and economic processes.” Mary Ellen Carroll 2

“I’m intrigued by Matthew Bourbon’s square, half-representational, half-abstract paintings. Like David Hockney, Bourbon is adept at blending two modes of representation in one image. In The Words We Agreed Upon and A Bucketful of Lies, figures mutate into irregularly shaped fields of geometric swatches of color. His interiors and figures suggest thinking and a kind of intellectual cosmopolitanism that seems precious today. (I keep reading his abstract elements as thought bubbles emanating from figures.) I also love the mise-en-abîme aspect of A Bucketful... and the way it recapitulates its subject, a group of abstract paintings, by becoming the thing it depicts. Bourbon’s might be ’desert island’ paintings—works you’d choose if you could only have one thing to represent painting in 2010.” Toby Kamps, Curator of Modern and Contemporary Art, The Menil Collection 1





1 Avis Frank Gallery 1606 White Oak Drive Houston, TX 77009

2 Art of the Week