OHIO ART LEAGUE GALLERY
FEBRUARY 2010 EXHBITION
Ian Magargee has an acute awareness of shape, spanning supports, color fields, and sculptural form. As his work evolved throughout the past few years, he allowed his focus to shift to, “More interest in general kinds of movements that exist within specific bodies and their interactions.”
This becomes clear in lines and geometric forms across space and a plane. Color animates the action through vibrant edges created through color compliments.
“One summer day in 2007, between the first and second year of grad school, I allowed myself to depart from the set of rules I created for myself. These were a set of (self-established) guidelines I could now deny to do in my work,” he said. “I allowed my self to depart, to set them aside temporarily to make my art more fluid, intuitive.” Natural instincts had found their own dynamic in work he could accomplish.
The final creative self was discovered in college woodshop constructing a piece. “I was positioning various components on a table, not happy with what I was seeing. I was ready to abandon it. Finally, I let pieces fall wherever.”
“I stopped and looked where the pieces coincidentally landed and said, why not? It broke me out of a gridlock way of working. It was incredibly refreshing.”
Ian came to his realizations as a question. Is academe a process of internalizing incoming material, or a process of energizing latent possibilities, already within the psyche? On a bad day it may feel like indoctrination. On a good day, it’s like turning on an internal spotlight. Maybe it’s both. The good artists face this crisis. They find themselves in the turmoil. Ian found himself.
Christin’s theme has consistently been self-awareness and the female consciousness, while pursuing new directions. A New York residency created a change toward work that is more interactive with the viewer. She calls her new form, “structural paintings.”
She says her work is, “Relaxed personality is revealed in the delicate feel of soft textural marks. Patience is something that is necessary when painting the way I do, whether it is realistic or more abstracted. I am a very fast painter, but it still takes a patient personality to achieve what I want for the finished product.” Many moments of experimentation lead her to new work.
She says, “I find beauty in breaking down the face into abstractions. It is interesting to me that it may not be identifiable as a face anymore or the face can look so different when sectioned and distorted. I look for the personal therapy of distorting my looks.” She hopes this leads viewers see faces differently on a daily basis. Seeing a face in her abstracted, sectioned and distorted faces can be a challenge to the viewer. Christin likes the viewer game of, “Can you find the face?” “Oh, I see it!”
She further explained, “It is important for me to understand how people see these images through the manipulated color and structure and what the reaction would be. Sometimes I can have tunnel vision when looking at my own work and I do not see what other people may see in it. So, I need to hear the reactions to ground myself and make sure that I am getting the right message across. It can be surprising to hear the comments sometimes.”
Christin is committed to a lifetime career in using her talents in art, within her passion for teaching and being an active artist. She is engulfed in her creative process. She explains, “When I am creating, I drift off into another place. I have most of my ideas when I am alone and have time to sit and think. I do a lot of thinking as a part of my process, especially about spaces. I get inspiration from spaces. I am very inspired by trying to fill the void of a particular space. I look at bare walls and corners and try to think of how I can make it come alive with a painting.”
Curator Aimee Sones has known both artists for some time, and thinks this exhibit is a great opportunity for the artist’s common interests in color and construction to come together. Their familiarity with color and distinct use of gentle curves and hard geometric shapes will make for a dynamic show. Their work complements each other as the artists go back and forth with color and form in the space between their works. “It’s like a conversation between the pieces in the gallery,” Aimee says.