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.