Jim Houser, Adam Wallacavage and Scott Albrecht at Paradigm Gallery
Jim Houser was born in 1973 in Philadelphia, Pennsylvania, the city where he currently resides. He is a self-taught artist and an honorary founding member of the Philly-based artist collective Space1026. Houser’s installations create a mapping system, cataloguing his thinking . His work explores the cadence of speech, science and science fiction, sickness and disease, plants and animals, time travel, ghosts , the art of children and the gravity of fatherhood , codes and code breaking, music and music making .
Through Houser’s signature style of visual poetry and personal iconography, the artist extends his practice of self-examination to include the topic of art making itself. Works serve to consider Houser’s relationship to the artwork he creates, the compulsion to create it and how his lifestyle has been formed, consequently. Houser’s collages become visual poems through which he cathartically communicates his most private thoughts and emotions with surprising candor. By cataloging his experiences and feelings through a unique pictorial language, the artist creates his own brand of curative iconography. Houser’s aesthetic often mixes stylized figures, hand-drawn typography and geometric shapes, creating quilt-like collages in a cohesive color palette.
Houser layers acrylic on wood, fabric and found objects, blurring the lines between collage and sculpture. Once combined, it becomes clear that all of his works are associative and directly related. This deceptively dimensional quality is further highlighted when the pieces are assembled into one of the artist’s elaborate installations, adding to the complexity of each individual piece by emphasizing a greater inter-connectivity to the body of work as a whole.Houser’s collages, paintings and installations have been exhibited in museums and galleries throughout the United States, Europe, Australia and Brazil. His work is included in the permanent collection of the Philadelphia Museum of Art and the Philadelphia Academy of Fine Art.
Adam Wallacavage is an American artist, based in Philadelphia, Pennsylvania. Inspired by sea adventure stories, gaudy kitsch, church ornamentation, and interior design, Adam Wallacavage is best known for his octopus chandeliers that mix Art Nouveau motifs and surrealist imagination. Wallacavage casts the forms using traditional ornamental plastering techniques, then paints them with pigmented epoxy resin, iridescent powders, and glitter. Initially trained as a photographer, in 2006 Wallacavage published Monster Size Monsters, a book of colorful, highly saturated photos of artists, musicians, and skateboarders, as well as a range of oddities such as taxidermy.
Lessons In Perspective: works by Scott Albrecht
PHILADELPHIA – Paradigm Gallery + Studio is pleased to present Lessons in Perspective, a solo exhibition of new works by Brooklyn-based artist Scott Albrecht, featuring a collection of works on paper, woodworks and sculptural works. The exhibition will be on view from April 28th through May 20th, 2017 with an opening reception on Friday, April 28th, from 5:30 – 10pm. Also on view at this time, a two-person exhibition titled Yet And Not Yet featuring new works by Jim Houser and Adam Wallacavage.
Lessons in Perspective showcases Albrecht’s most recent body of work sharing a concentrated collection that builds off of his graphic and abstracted styles. Scott’s work continues to find a balance in forms through his bright and bold use of color and shape that is grounded in his use of abstracted typography.
Largely inspired by his reflections on recent events, Lessons in Perspective focusses on the duality of perspective in situations and the need for empathetic resolve. Coming out of a very turbulent 2016, Scott became increasingly interested the divisions among people and the way in which people engaged one another. To Scott, it wasn’t the issues themselves that gave pause, but the way they were discussed and the lack of empathy to one another’s point of view that only seemed to sharpen the edges of conversation and further distance any resolution. Taking notice from these situations, the works within the exhibition reflect on these situations in varying stages of acceptance and action.
The works within this exhibition revolve around a duality in meaning meant to echo the idea of varied perspectives—sometimes both literally as well as visually. You can see this theme emerge in varying ways throughout the works. In one series, two opposing ideas are overlaid on top of one another leaving the end result to be an illegible mix of shapes and forms from both words – the idea being similar to two ideas equally competing for attention but no single idea is able to come through. This can be seen in the “Fear / Love” and “Want / Need” works. Other works play on the theme of perspective in less overt ways. The work “Know Love” plays on the difference of seeing the word ‘know’ and and hearing ‘no’ effectively giving the sentiment very different meanings, while works like “The Next Day” or “The Patience of Time” address the idea of perspective evolving over an elapsed period of time. Even his stand-alone flower sculptures, titled “Offerings” elude to the gesture of bridging a gap.
While language is a focal point in Scott’s work, he’s traded in the speed of legibility in an attempt to pause the viewer to consider his motivations both visually as well literally. Writer and New York Times editor Robb Todd wrote “He does not want viewers to simply read the words and walk away. He wants engagement — for the viewer to spend time with the pieces and appreciate the forms and shapes that create the message.” Similarly, artist Shepard Fairey noted "Scott Albrecht in his art finds the elegant tension between the bold and sublime. His abstraction and deconstruction of type forms combined with his sophisticated color theory and surface treatments yield artworks that are immediate, yet command a deeper and closer look."
Scott’s wood work is the result of a meticulous and lengthy process. Starting from a hand-rendered drawing these works are often the result of hours of process and production being made up of dozens, sometimes hundreds of individual pieces that are cut, sanded, painted and re-assembled often in varied depths.
Please contact Paradigm Gallery for more information