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.”
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.
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.
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.”
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.
Austin Chronicle, FEB. 28, 2017
Metal man. Music man. McIntyre.
It’s been almost a year since the opening of Dimension Gallery, the city’s only venue dedicated exclusively to exhibiting and promoting contemporary sculpture and three-dimensional art, and now there’s this … this giant lung that’s getting ready to exhale nearby.
Note: It’s not literally a lung, no. It’s a pipe organ. A seven-octave pipe organ. An antique seven-octave pipe organ, rescued from a state of material decrepitude, now newly rebuilt and installed inside a climate-controlled shipping container by Dimension’s co-founder Colin McIntyre.
“The organ came out of a church in Detroit,” says the sculptor. “It went into disuse in the Eighties and much of the instrument was lost over the years before it came to me. It was originally built in the mid-1930s by a company that’s one of the few remaining American manufacturers of pipe organs: Wicks Organ Company. I’ve rebuilt wind chests for it and implemented the electronic controls for modern interface – been working with a well-known acoustician and the premiere provider of electronic pipe organ controls in the country – but everything else is original equipment. And I’ll be adding more ranks as I find them.”
Austin Chronicle – January 2017
Difficult to single out just one exhibition at Colin McIntyre and Moya Khabele’s Eastside gallery, as all the shows have been as compelling as they’ve been different. The sole venue in town devoted to displaying only 3-D works, Dimension pleases my aesthetics so powerfully because many of the folks involved are blacksmiths and are all hands-on (elsewhere) with the iron and the fire – and that heavy industry echoes even when the artists are working in delicate ceramic, plastic, wood, or feathers.
To read the full article, click here.
Austin Chronicle – November 2016
And here comes the second weekend of the biggest visual-arts event of the year, citizen.
Yes, it’s Big Medium‘s annual spectacle of creative goodness, the East Austin Studio Tour, featuring hundreds of private studios and galleries opening their doors all across the sunrise side of our busy city, for your pretty-much-nonstop opps of shopping, shmoozing, interactive presentations, workshops, parties and afterparties into the wee hours of each night.
We know Dimension Gallery (979 Springdale) is right down the street with its new “Paved Garden” and “Pitch Drop,” and you shouldn’t bypass that bastion of heavy-duty sculptural work where metal and more meets its match in unforgettable human expression.
Art Alliance Austin – November 2016
Artists and gallerists Moya and Colin McIntyre’s picks:
Moya and Colin McIntyre are the founders of Dimension Gallery, an East Austin gallery specifically dedicated to exhibiting sculpture and financially aiding artists through municipal grant assistance.
The Paved Garden at Dimension Gallery
We don’t mean to brag but this new large-scale outdoor sculpture exhibit at Dimension is not to miss. Thanks to a generous grant from the COA Cultural Arts Division and sponsorship by Big Medium, we have curated 17 monumental pieces under an industrial awning. This show is literally larger than life.
Austin Chronicle – October 2016
Will to Be, Will of Me, Will to Do,(Details) 2015, Grant Kreizenbeck, 82″x96″x24″
You want masks, well, that’s where Dimension Gallery’s new show comes in.
I’ve mentioned Dimension here already, have even reviewed a show or two that’s been featured in that excellent Eastside venue. And I’m mentioning it again, because, look – there’s an exhibition opening there tomorrow (Thursday) night, and it’s called “Cloaked Identity” and it’s all about the embodying or obscuring that masks can do, and the examples of that – the masks themselves – are provided by Blue Genie’s Dana Younger and Virginia-based Dennis McNett and the culture-hacking Corinne Loperfido of L.A. and Austin’s Alyssa Taylor Wendt and – ah, there are several more, yes, offering much made beauty in Moya Khabele and Colin McIntyre’s sculpture-celebrating premises on Springdale Road.
You don’t have to follow a spider there or anything like that: Just track the directions in your car, or some ride service, or (even better) as you pedal your bike. You don’t have to bring along any music from your past or your present: The conversation of the mingling creators & other art-loving citizens will perfectly soundtrack your perusal. You don’t even have to bring a specific identity, really: Be inspired by one of the masks on display, maybe become someone a little bit different for a night?
I’ll probably be there, myself – in one guise or another.