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Description
The first compresensive solo survey show of work by Daniel HealeyOpening: Friday, August 6, 6 - 9pm
Artist’s reception: Saturday, September 4th 7 - 10pm
Artist’s talk: TBA
ART@TheOakbook
423 Water Street
Oakland, Ca 94607
“Oakland artist and curator Daniel Healey feeds off the discards of our throwaway cul- ture, in this case by using images from contemporary magazines and books. With tape-and-ink transfers, Healey covers the canvas with dense patchworks of domestic objects, which blur into beautiful landscapes when viewed at a distance.”
- Jeanne Storck(ArtWeek, Shotgun Review)
The Oakbook magazine and gallery is proud to announce the first comprehensive survey of solo and collaborative work by Oakland-based artist Daniel Healey. Coming off the heels of several critical acclaimed group exhibitions such as “Double Exposure” (2008, Blankspace) and the 2009 edition of Bay Area Currents, Art@TheOakBook gallery director Theo Konrad Auer, saw this as an apt time to give this artist a new platform to further his dialogue between between aesthetics, conceptual content, audience interpretations. This show is a vast undertaking, that aims to re-purpose and recontextualize everyday materials through extraordinary processes. “I'm using very conventional materials more often found in office supply stores or in the shipping world. I think that using utilitarian objects connects the average viewer into a self referential relationship,” Healey says.
In the artist’s own words: “I am trying to open up dialogues between use of products and how the process affects the creation of art. With this show I have many intentions into the individual series of work and investigations into my artistic process, some ideas and audiences overlap and connect meaningful relationships. I'm using abstraction as a tool to investigate my ability to see the materials I'm manipulating in a new light. Often times I reduce a material and a process down to its core elements using repetition and trust in the material to morph it into a new state. They can relate back to these materials in their everyday lives at home or at work. Paper, tape, #2 pencils, cardboard, foamcore, and glue. I'm trying to take common materials and displace their function until it reaches its own potential in a new and interesting dysfunctional way. In my world, paper serves our need to communicate, pass information, denote a thought, sketch, draw. Cardboard is the barrier between manufactured goods and the world. It's a funny throw away layer of skin protecting the goods beneath. Foam core is used for the display of posters with information, presentations, and for building architectural models. Glue is used to "fix" the objects that fall victim to their own fragility and disorder. Collaborating with found books and other artists (Darren Hawk and Damon Smith) causes a different relationship between order and disorder. A lot of my work is also dealing with this core theme of making and developing order out of chaos. Or starting with a simple idea or process and repeating it until a structure emerges. I'm dealing with painting, drawing, found object procuring, collaborative, and video, displaying footnotes into different processes and series of investigations.
The ( * ) being the title of the show ties together these footnotes. It allows the the viewer to deal with works in different materials and series into relationships with the each other and the show as a whole. The show uncovers many sides of my repertoire for the first time in a single show/vision. Although I feel all of my different series deal with things on their own concepts and imagery, one gets the sense that they connect in many ways. Disparate on some levels and cohesive at the same time.
This show opens up a dialogue between aesthetics, conceptual content, audience interpretations. A viewer can expect to see a vast array of materials being used in different ways. In the foamcore drawings visual relationships with the tape pieces emerge. The negative spaces in the trashscape series including the video of it has similar texture and feel to the vast abstract notions of void.
Within the trashscape series there are multiple levels in which different audiences are addressed and different levels of intention are used. I aim to appeal these pieces to a mass audience and consumer culture that is about and for the splendor of material. At once they celebrate and reconsider manufactured goods that are advertised, bought, sold, and disregarded. The landscapes at once seem visually over-stimulated but relate able and abstract enough to bring obscurity. There seems to be a notion of "pop" cultural references that can be interpreted as political, humorous, celebratory, in a state of war, or even cynical. They relate to mass culture and a current state of our relationships to objects, and objects relationships with us.
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