“Disparate Mythos: Women of Sculpture” at Dimension Gallery

Austin Chronicle – August 2016

image1Magdalena 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

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Austin Art Break

Tribeza Magazine – August 2016

14329896_831561510279953_1984097959386097677_nOn 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.

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Force, Fuse, Flower: Colin McIntyre’s “Circumnutation”

New metalwork show brings a few helical organics to Dimension Gallery – Austin Chronicle June 15, 2016

13442410_1331244306889987_888590144371514428_n“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.

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Dimension Gallery: Hexapoda

Austin Chronicle – 5.5.1613062497_762833207152784_7757776028691428748_n
Here’s the second solo show at the sculpture-focused Eastside gallery that’s just a couple blocks away from Canopy, and it’s a gorgeous display of works by blacksmith Colby Brinkman, a man who delights in forging metal into large and stunning insectoid shapes: Somewhere between speciated realism and the abstract idea of creepy-crawly is where his solid brilliances dwell. Reception: Thu., May 12 – Sun., May 29Thu., May 12, 7-10pm.

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“Bugging Out: Dimension Gallery’s fellowship program aids artists”

Austin Monthly May issue by Karla PulidoHexapoda_Colby Brinkman1
“Nestled in the emerging East Austin art district, newcomer Dimension Gallery, which opened in March, is a space that solely showcases three-dimensional art and sculptures. This month, the venue’s second solo show, Hexapoda, features work from local metal artist and blacksmith Colby Brinkman. Since 1995, Brinkman has harnessed his passion for metal work into an art form, smashing and welding architectural ornaments to create art installations. This exhibit features insect and trilobite creations of all sizes, along with a large-scale daddy longlegs sculpture and feather horn beetle-inspired antenna sculpture. Brinkman and seven other artists will present one solo show a year until December 2017, as part of the gallery’s fellowship program. Co-founder Moya Khabele uses her experience in the nonprofit sector (she founded The Khabele School) to guide artists in applying for grants. She, along with the space’s co-owner, metal sculptor Colin McIntyre, hope to inspire East Austin with the exposure of art in a new dimension.”

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“Alejandra Almuelle: Locus” at Dimension Gallery by the Austin Chronicle

The dark physicality of these figurative sculptures brings an exquisite imposition of memories into the waking world – Austin Chronicle 4.14.16
IMG_8537Wayne Alan Brenner comments on Alejandra Almuelle’s exhibition:  “She’s brought her whole family along, it seems, as the nine sculptures currently occupying Dimension are a sort of darkling clan, wrested from her subconscious, carefully wrought through clay and fired into human shape. No pottery here: The only thing functional about this “Locus” show is how clay – maybe a hundred pounds of it, as the song goes, maybe somewhat less – can function as a stand-in for humanity or for various fragments of what it means to be human. Some of the figures in this show are adults, and some are children, and some seem a mixture of ages, all enhanced with underglazing and occasional additions of pigment. Each piece – a bust, perhaps, with odd growths flowering from the flesh; or a head-and-torso if not a full body, one arm bent toward the viewer, but also full bodies among them – is anchored atop its own wooden plinth: a preserved railroad tie attached to a wide iron base. These sculptures of Almuelle’s surround you in the gallery, backgrounded against the vertical grid of the walls’ bare bricks or fronting the north window, the charcoal-hued physicality of the bodies or partial bodies an exquisite imposition of memories, of haunted interior states or dreamtime concerns brought into the waking world outside. They surround you in the gallery, in their temporary locus; and the memory of them will likely accompany you beyond – adding a new and subtle dimension, one you hadn’t even realized was missing until you saw them, to the remainder of your days in this physical world.”

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“Dimension Gallery opens with Birth : Rebirth, Elemental Origins”

Art and Arnold 3.11.16 by H.C. Arnold
press1“As for the show, with eight artists, it’s possible that it would be overly diverse and lacking any unity. However, that is not the case. Although the sculptures range in size from the monumental to the intimate, and in appearance from the abstract to the figurative, underlying this entire exhibition is a subtle feeling of antiquity. Each piece appears like a relic from the past. Some of this is outright in the imagery used. For example, trilobites adorn the walls, a fabricated pile of bison skulls rest on a podium, and a portrait bust, that stands quietly in the corner, looks more like what you would find in a museum than in a contemporary gallery. Other works internalize this theme. “Natural Balance” preserves a collection of objects in resin…In the gallery’s outdoor space, “Hexobelisk 3” looks weathered and old. It’s the result of intense heat and pressure that caused the metal tower to collapse down on it self. In its fat and rusted appearance, the contorted column reveals this process by alluding to the tremendous force of the past event that shaped it.”

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New gallery adds unique dimension to growing East Austin art scene

Culture Map 3.4.16 by Molly McManus
press2“The city’s newest art space, Dimension Gallery, is providing exposure to a specific type of art: sculpture and three-dimensional works. The only gallery in Austin focusing specifically on sculpture and 3D art, the nonprofit was started by Moya Khabele and sculptor Colin McIntyre in December 2015 and is working ‘to inspire dimension in the up-and-coming East Austin art movement’.”

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