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.
Austin Chronicle – August 2016
Magdalena Jarkowiec’s two-ness is two female figures combined in one at the legs so one stands upright and the other is upside down like a reflection in a still pond….Most notable, as I have mentioned, is the single head. Do both entities making two-ness think and speak through that single head, or does the upper body think and the bottom headless body only gesture and feel, maybe communicating with hands alone (long fingers that could feel and communicate complexities with deftness). The head here is gorgeous and odd, with a gaping red mouth and cloth eyes. I don’t imagine words coming out as much as music, guttural tonalities and honks. I could be wrong. Maybe she speaks wonders, enchanting ululations, luxurious, haunting songs like calls to prayer. Her voice may be as counterintuitive as her floral skin.
The only obviously shared language in “Disparate Mythos: Women of Sculpture” is that of the object. Aside from this, the variation is expansive, a medley of perspectives. two-ness speaks one story while the others speak theirs. They are objects speaking in multiple dialects at once; a labyrinth of tongues mishmashed like Babel in the spirit of one. Photo credit: Trey McIntyre
Tribeza Magazine – August 2016
On Aug. 4, Art Alliance members were able to get an exclusive preview of Disparate Mythos: Women of Sculpture, an exhibit consisting of work by 13 female sculptors. Members were also able to enjoy drinks alongside Austin artists responsible for shaping the art scene in the city.
New metalwork show brings a few helical organics to Dimension Gallery – Austin Chronicle June 15, 2016
“I love working with forms that defy the cold rigidity of the medium,” says the tall, bearded sculptor. And though he did that with Arboreal Passage, his lifesized six-tree arch that marks entrance to the Austin Nature & Science Center, even that Art In Public Places commission was more of a specific portrait-in-metal than he’s partial to.
“I prefer to embrace the power of lifeforms in a non-discerning fashion,” says McIntyre. “I’d rather capture the essence, the grace and beauty of lifeforms, and abandon the sort of representational artwork where you’re representing a particular species. I grew up steeped in science and aesthetics, and I have a real appreciation for science and the determining of species, the subtle variations. But I also like abandoning the whole speciation tendency, so instead of chopping and dividing everything, I go toward the bigger picture, the guiding forces of evolutionary adaptation.”
Which is what’s on display – beautifully on display – in Dimension Gallery’s “Circumnutation.” The sum of which display may be, as they say, greater than its parts. But, oh, there are many parts.
“In this body of work,” says the artist, “each piece is composed of individual elements – they’re all pendulous, hanging elements. And each component is kind of its own piece, and together they’re like chains.”
Like chains of being, maybe, especially as these chains are immutable – unless acted upon by heat and pressure equivalent to what McIntyre’s already expended in their creation? But, ah, now we’re getting tangled in our own chains of thought, influenced as we are by the Darwinian reference of the show’s title. (Note: Circumnutation is the term the estimable Charles used in 1865 to describe the motion of growing stems and tendrils).
To put it more succinctly: You know that thing that plants do, that curvilinear extension of themselves in space, the sometimes helical nature of their slo-mo kinesis? That blatant organic thing that sets them apart from inert matter? That’s what Colin McIntyre has captured, has rendered in cold dead metal.