In fiscal years like this one, when all 12 bills aren’t adopted by the Oct. The US government runs on 12 appropriations bills passed each year by Congress and signed by the president. Memories remain fresh of the longest shutdown in US history, lasting 35 days in late 2018 into early 2019, over President Donald Trump’s insistence on $5.7 billion for a wall on the border with Mexico. With the Democratic-led Senate and Republican-led House still far apart on the outlines of such a stopgap spending measure, discussion is shifting from whether a shutdown will happen to how long it might last. In all the work is an inherent tension between the abstract and the representational, which remarks on both physical and psychological intersections of the domestic and the wild.The US government is fast approaching yet another shutdown unless Congress enacts a temporary spending bill before the new fiscal year starts on Oct. Snippets of forest, sunshine, and foliage congeal as places of haunting enchantment or spiritual refuge. Litchfield uses a wide range of media including collage, paint, photography, and digital prints to create fragmented and abstracted landscapes that are derived from a sublimation of desire and/or fear. What is born is her own geography, history, culture, and ecology. Sandy Litchfield creates imaginary worlds from fragments of memory – emotional terrain combined with realistic shards of actual landscape. There is an inherent lyricism in each of his works as these natural forms meld and swirl to create a new energy. The wet-on-wet application creates a bleeding, transient quality, which calls to mind both light and movement. His liquid media offers a variety of opacity and textures. The elements of fire, water, air and earth abstractly emerge in his paintings and comment on the processes of nature at work. Rather than try to visually depict the natural world, Kass seeks to evoke the experience and vital essence of it. By gathering fragments of nature and then overlapping each in strikingly abstract paintings, the various parts become a new whole. Ray Kass develops mixed water-media compositions in response to his deep connection to landscape. His work comments on the fleeting bits and pieces of information in our society – and how it is possible to see an inherent formal beauty in it all. Using his signature painting technique (via dental syringe), the artist outlines selected forms in a bold, three-dimensional line - fragmenting them even further from their already nebulous source. Taking inspiration from the abstract forms and layered beauty unexpectedly found in shredded advertisement posters around New York, Ivcevich photographs many of these examples of urban decay as the basis for a body of work he calls, “Shreds.” Drawn to the abstract geometry of these images, the artist fragments them further via the calibrated replication and distillation of various shapes from this field of torn paper. Ivcevich extracts fragments of urban deterioration and grit in much of his work. These fragments can be either physical (pictorial space, literal subject matter) or metaphorical (depicting fragments of memory, or symbolic remnants of our subconscious). An artist fragments the picture plane into several related shards, layers or pieces. Grammatically, “fragments,” can be both noun and verb. This exhibition explores the way three different contemporary artists interpret fragmentation, both literally and figuratively. The show will run from Decem– January 11, 2014, with an opening reception on December 12, 6-8pm. Garvey|Simon Art Access is pleased to present FRAGMENTS, a group exhibition featuring works by J.
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