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Benthos, New Work by Haley Woodward

Opening Reception – February 22nd

 
Benthos is the community of organisms that live on, in, or near the seabed, also known as the benthic zone. This body of work uses these strange and adaptable life forms as influence for sculptural forms. This series created by local artist Haley Woodward will kick off at Dimension Gallery with an opening reception on February 22nd from 6 to 9pm and will be on view every Saturday from 12 to 5pm from February 24th through March 31st. Dimension Gallery is located at 979 Springdale Rd, #99.


After achieving his BFA in Sculpture from Guilford College and his MFA in Blacksmithing from Southern Illinois University, Woodward has traveled the country creating and displaying his metal sculpture. Woodward’s work is generated by an exploration of working properties of metal, specifically iron, steel and brass. He applies traditional and modern techniques to these materials, to create sculptural forms. At the same time, Woodward makes sculptural forms as a means to work with and better understand metal. Iron, steel, and brass give a pallet of colors, textures, and physical properties that allow a variety of options when making work. These materials come with their own histories within the context of the human experience. Starting as technical challenges and investigations into the process of blacksmithing, new forms and process become illuminated, and new sculptural ideas tend to follow. More often then not, this leads to more technical challenges and the drama continues. Technique inspired by the work, and work inspired by technique.

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“NO” – New Work by Dana Younger

Power concedes nothing without a demand. It never has and it never will. 
– Frederick Douglass

Are we beholden to the mythology we
inherited, be it personal, social, political or otherwise?

The friction of our binaries is particularly hot right now. Truth is dependent on perspective and most of us are deeply invested. In this crucible, silence implies consent.

Speaking and listening are courageous acts.


Join us for the opening reception on January 11th from 6 to 9pm or for gallery hours every Saturday from January 13th through February 17th from 12 to 5pm.

Dana Younger earned a BA in Theater from the University of Texas at Austin. His experiences in the theater, including acting, directing and prop making, all culminated with an interest in art fabrication and business. Younger began his work as an artist as a founding partner of Blue Genie Art Bazaar, an annual holiday art show, and Blue Genie Art Industries, an art/fabrication company. Currently he is a manager of writers, designers and fabricators for Texas Parks and Wildlife. His work has been featured in galleries throughout Texas and the US including New Mexico State University, the Louise Hopkins-Underwood Center for the Arts in Lubbock, Wright State University in Ohio, Purdue University in Indiana, Abilene Christian University, Texas A&M and Stephen F. Austin University in Texas Younger was awarded “Best in Show” in the 2014 Georgetown Art Hop Statewide Arts Competition. He says, “whether it’s making rubber molds, CAD models, or creative relationships, the excitement for me is learning new materials, people, and ways of putting things together.”

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Translating the Third Dimension

Eastside Magazine – December 2017

On the flat blacktop of a commercial complex, toy soldiers melt under the sunshine, and a muslin-wrapped figure soars skyward only to be bent in half by the weight of her majesty. Across the cement-covered stage, a small door beckons you to exit the garden and dive deeper into the multi-dimensional world of sculpture.

Sculpture, it turns out, is not the leaden, thoughtful creations of Bernini and Michelangelo that explored the dimensionality of the human body. “Sometimes people think sculpture is some sort of bronze guy, but there’s a lot that can be done in sculpture,” Moya remarks, and Colin continues, “There are some works that are three dimensional that aren’t technically sculpture, like sound installation work or music and dance, which also rely on dimensional space.”

Moya McIntyre, who co-owns Dimension Gallery with her sculptor husband Colin McIntyre, elaborates on the ethos behind this unusual collection, “We’re not the only place showing sculpture; we’re just the only place dedicated to highlighting and exhibiting local sculptors.” In fact, around the country, outside of sculpture gardens, there are few places where three-dimensional artists can exhibit their work with the intention of selling it. Moya explains that this realization was the catalyst behind the couple’s decision to create a space exclusively for those artists’ exhibitions and to teach artists how to navigate the complex and bureaucratic grant-writing process.

Dimension Gallery’s unique body of work is a careful curation brought together by Colin and Moya during their resident artist selection process. Every two years, eight artists are selected to become a part of the Dimension Gallery where they are given a space to showcase their artwork while they are taught how to write grants. “I write one to three grants per artist the first year and then teach them how to write grants for themselves the second year,” explains Moya. These grants, she says, are the key to allowing artists to create art rather than do “bread-and-butter work.” Each grant affords an artist with a lump sum of $4k – $20k a year based on how they qualify.

In conjunction with improving their grant writing skills, Dimension Gallery’s artists spend eight months a year showing their work in 6-week intervals. “They work the gallery during their show so we don’t have staffing costs, and then if they sell any of their work, they make 100 percent of their sales during their solo shows,” adds Moya. Outside of these solo shows, the other four months of the year are populated with shows by guest artists who exhibit alongside the residents. During these events, the gallery splits the commission from sales 50/50. Moya explains that this is just to keep the lights on. “The goal of the gallery is not to make money. It’s to support artists and share as much art and sculpture with Austin as possible.” Eventually, the gallery hopes to offer stipends to its artists so that they can be paid to exhibit their work outside of when they sell it. During these early stages, however, Moya explains that as artists helping artists, “It’s all about supporting the arts.”

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Editors Picks: What to See on EAST

Sightlines – By Jeanne Claire van Ryzin – 

Contemporary art meets a convenience store cum vending machine in “Sculp-chur” at Dimension Gallery. One-of-kind small sculptures are packaged and displayed retail style, a tease on the money-driven consumption of contemporary art. Playing are a great roster of Austin artists:Ted Carey, Valerie Chassonnet, Emily Coleman, Rebecca Lynn Hewitt, April Garcia, Terra Goolsby, Jennifer Hill, Sarah Hirneisen, Laura Latimer, Lindsey Maestri, Colin McIntyre, Haley Parsa, Rebekah Rauser, Jamie Spinello, Dana Suleymanova, W. Tucker, Rachel Wilkins, Dana Younger.

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Dimension Gallery: Mimicry

 

Austin Chronicle 2017

“Blacksmiths are typically excluded from the art world by those who believe we are all farriers or bladesmiths from a long-ago past,” begins the statement heralding this new exhibition.

Well, we add, anyone who, after they’ve seen this show, still believes that? That’s the kind of person we refer to, technically, as a fucking idiot.

This “Mimicry” at Dimension Gallery is a show of stunning new pieces by Colby Brinkman, a founder of the Austin Metal Authority, who works in iron the way other artists might work in wood or clay, and whose finely wrought creations are often inspired by the gorgeous and creepy anatomies of arthropods.

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Art Alliance Beyond the Bio

Beyond the Bio is a series that takes you past the canvas and into the minds of the artists and curators who build the contemporary arts community.

Alejandra Almuelle was born in Arequipa, Peru. She is a self taught ceramic artist working in Austin for the past 24 years. Before moving to the United States, she spent time with a community of potters in Pizac in the Sacred Valley of Cuzco, a major center for ceramic making in Peru. Peru is a country in which the abundance of clay has made this medium a language of artistic expression. Clay is its own idiom, and being there, she began to speak it. Her work has been featured in the Texas Clay Festival, San Angelo Museum of Fine Arts, MexicArte Museum, Laguna Gloria, Dimension Gallery, among many others.

Her latest body of work entitled “The Silent Narrative of Things” will be exhibited at Dimension Gallery, with an opening reception on May 4th from 7 to 10pm. Public gallery hours will follow on Saturdays and Sundays from 12 to 6pm from May 6th through May 21st. When asked about the significance of this upcoming work, Almuelle reflects…

“When I started this series, I was affected by the significance and probable implications of the political situation. Many questions started to come as the work emerged. Questions created more questions in my attempt to answer them.

‘Seven’ which is the first of the series expresses that state of mind. I have included Spices and Salt as a subtext of the piece. Spice as an undercurrent narrative of human immigration, trade and value. And Salt as a form of currency and power but it is also a fundamental part of the human body. Salt founded civilization and with it commerce. The paradox is that commerce commodifies life itself, a prevalent and entrenched aspect of society.

Each of these human shaped figures are pierced, revealing the interior space through orifices and openings manifesting the permeable nature of the self. A self that is not solid, fixed or contained.

There is also the allusion of story telling in the “1001” installation piece. It brings again the “hole” as part of the piece itself. The existent multiple holes on the brick walls of the gallery are connected by red thread to the needles. It is the eye of a needle that makes the needle.

Visible and invisible, certainty and uncertainty , power and need, It is in between this tension we reside.”

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Almuelle’s “The Silent Narrative of Things” Speaks Loud in the Shadows

Austin Chronicle 2017

Don’t let the rain, if there’s rain, keep you away from the second weekend of the West Austin Studio Tour.

And while you’re enjoying the seemingly endless delights of the WEST, don’t let that keep you away from the Eastside’s excellent Dimension Gallery.

 

Moirai, you see: The Apportioners

We mean, look, if you’re going to be out & about anyway, then it’s not like you’ll be making a special trip, right? And what’s on display in Dimension Gallery right now is more than worth making a special trip for in the first place.

This: “The Silent Narrative of Things” by Alejandra Almuelle.

It’s the second solo show by the brilliant sculptor in this spare and elegant space, and it might even eclipse the dark glories of her exhibition that helped to inaugurate the venue more than a year ago.

Note: There’s some kind of colloquy going on elsewhere in town next week, where the Austin Creative Alliance is matching local artists with various faith-based congregations, trying to foment up some space-sharing arrangements for all these creative types? The program’s called “Art in Sacred Spaces.”

Well, neither Dimension Gallery nor this new show by Almuelle has anything to do with that, as far as we know, but we thought of it while viewing this “Silent Narrative of Things.” Because what Almuelle has done is turned Dimension Gallery into what we can’t help but perceive as a sacred space. Not some typical “sacred space” festooned with the gimcrackery of more common religions, though. Rather, a hidden alcove redolent of ancient pagan mysteries, of deep Jungian undercurrents, with sculptures of the artist’s interpretation of the Three Fates all texturally complex against the entrance wall; with a series of hollow and pristinely white figures atop a field of salt on a far table; with sculpted hands set among piled patterns of spice – cinnamon, turmeric, pepper, and more – on a closer surface; with a diverse array of rough porcelain needles literally stitching yarn-as-bloodlines into the very concrete of the gallery’s cemented verticals.

We caution you not to attend this exhibition while under the influence of any especially strong psychedelic drugs, citizen, lest you go all Dr. Jessup from the experience.

But do stop by Dimension Gallery this weekend, the final weekend for Almuelle’s show there, and enter an eerie cathedral of the mind made manifest with astonishing skill and shadow-driven conjuring from a world-class sorceress of claywork.

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The Paved Garden + sculp-chur Opening

Sculp-chur is a “product line” that consists of one of a kind small sculptures packaged to mimic retail presentation. Each piece is an original artwork presented as if it just came out of a snack vending machine. Without lofty agendas, the show contemplates the modes of consumption for visual art.

The Paved Garden, a large-scale outdoor sculpture exhibit at Dimension Gallery, is kicking off its second year this November. In celebration of the EAST Austin Studio Tour and in collaboration with the City of Austin Cultural Arts Division, Dimension Gallery will launch an updated collection of its curated sculpture garden. The exhibit sits under an industrial awning and is accessible and illuminated 24 hours a day. The Paved Garden has become a well known art destination in East Austin. 

Both of these shows open Friday, November 10th from 6 to 8pm. Join us right after at Springdale Station for Art at the Station from 8 to 10pm.

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Art at the Station

Moya McIntyre presents Art at the Station on Friday, November 10th, the night before the first day of the EAST Austin Studio Tour. Come celebrate this festive season with us at Springdale Station for “Art at the Station” featuring work by Moya and Colin McIntyre, Shea Little, Laura Latimer, Rebecca Bennett and Jenn Hassin. This historic train station will be sprinkled with colorful abstract paintings, metal sculpture, mixed media sculpture, and installation art.

The party starts at 8pm and kicks off with a special dance performance by Kelsey Oliver, Hunter Sturgis, and Aundre Wesley at 8:30pm.

Next door at Dimension Gallery, two shows open from 6 to 8pm. We recommend popping by Dimension first for a peak of Sculp-chur and The Paved Garden and then sauntering over to the Station for more art and performance from 8 to 10pm.

The exhibition will be on view during EAST as well on November 11, 12, 18, and 19 from 11am to 6pm. This project is supported in part by The City of Austin Economic Development Department.

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sculp-chur

Sculp-chur is a month-long group exhibition at Dimension Gallery that opens with a reception on November 10th from 6 to 8pm, and will be featured throughout the EAST Austin Studio Tour weekends.

Sculp-chur is a “product line” that consists of one of a kind small sculptures packaged to mimic retail presentation. Each piece is an original artwork presented as if it just came out of a snack vending machine. Without lofty agendas, the show contemplates the modes of consumption for visual art.

The exhibit likens itself to a conceptual convenience store. The show offers compact works, hanging in their packaging from hooks on peg board or even sitting in a glass faced soda fridge. The packaging communicates that the sculpture is clean and ready to go, anxious to be snatched off the rack and brought home for maximum satisfaction. It is a superfluous element that transforms the sculpture from a piece of art into a “properly” commodified product for that moment in time.

Artists featured include:

Ted Carey
Valerie Chassonnet
Emily Coleman
Rebecca Lynn Hewitt
April Garcia
Terra Goolsby
Jennifer Hill
Sarah Hirneisen
Laura Latimer
Thomas John Lemanski
Lindsey Maestri
Colin McIntyre
Haley Parsa
Rebekah Rauser
Jamie Spinello
Dana Suleymanova
W. Tucker
Rachel Wilkins
Dana Younger

Opening Reception – November 10th from 6 to 8pm

EAST Gallery Hours – November 11, 12, 18, and 19 from 11am to 6pm

Regular Gallery Hours – Saturdays from November 25 – December 9 from 12 to 5pm

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