To provide a platform for more experimental work than usually finds eager buyers at a commercial gallery, Darke Gallery recently invited Houston sculptor and writer Kathryn Kelley for a summer artist residency.
She had about six weeks to make work in the space and another five weeks to exhibit the results.
Kelley makes tough, forbidding-looking assemblages with baling wire and remnants of tire tubes, doorframes, mattresses and other castoffs, but pairs them with poetic titles shot through with pain and vulnerability.
As in the past, Kelley’s process-oriented sculptures are ripe with bodily references. The pieces with doorframes are evocative of camera bellows, television sets and computer monitors — technologies that extend our sensory capacities and furthering both our connectedness to and alienation from the world.
Kathryn Kelley: the edge of my unreadiness continues through Oct. 8 at Darke Gallery.
I found Douglas' idea about "our connectedness to and alienation from" hitting me dead on, profoundly insightful with word images I had not before considered but experience internally. Also his reference to "camera bellows" provokes me for future ways I may play in my work with the ambiguity of the word, bellows. I really like that word.
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