Collect Light with Hedwig Brouckaert is now on view in Murray, KY. Arctic, Future Relics is featured in Brooklyn Magazine and reviewed for Candid Magazine!
From Albury’s newsletter; “This year has been exciting with my first NYC, solo show, Arctic, Future Relics at Nurture Art, participating in the traveling group show Arctic Hysteria with LOCUS, theRE: shows with Max Lee and Erin Davis, a couple great shows with The Sun That Never Sets, working as artist-in-residence with CEPA, Project Grant and Watkins College and now also as a visiting scholar at NYU’s Steinhardt School. I’m thankful for an engaging, international community. Developments are already underway for 2017, as well! In the meantime, I’m pleased to share my new show with you, Collect Light: Vanessa Albury & Hedwig Brouckaert. T. Michael Martin, gallery director at Murray State University, curated our show and introduced us to a the vibrant and engaged art community at MSU. If you’re in the area, stop in Monday to Friday 8am to 5pm, or by appointment.
Here’s a link to the press release and some installation shots are below. I’m showing recent works, such as Porthole Waves (Svalbard,) my Light Shadowgraphs (Chandelier) series and a new collage, Untitled (Broken Fears Dish, Lace and Exploding Star,) along side older works such as I Am What You Make Me (made in collaboration with 9 amazing people,) dual 35mm-slide projection with audio Waves (the Impossibility of Distinction for Mr. Palomar) and my silent 16mm film, Tree Shadows.
Clara Eagle Gallery
Murray State University, Fine Art Building
Gallery Hours 8am to 5pm Monday to Friday and by appointment
Audrey Tran shares her thoughts on my solo show Arctic, Future Relics at Nurture Art with Candid Magazine in her review Nostalgia – A Political Notion; Vanessa Albury presents Arctic, Future Relics. Audrey muses on Susan Sontag’s 1977 essay, ‘Melancholy Objects’ as she considers my sculptural photographs. Here’s a quote from the article:
‘The strength of Arctic, Future Relics comes from the artist’s ability to create nostalgia for a subject that lies in the present, and not entirely in the past yet. Her subjects are not even truly alive but they can generate an emotional response, especially when combined with the pieces of old, weathered wood; both glaciers and wood communicate the feeling of being forgotten. As the glaciers in Albury’s images physically fade in real time, so does analog photography.’
So pleased to be included in Paul D’Agostino’s round-up of NYC-wide art shows beginning the fall season for Brooklyn Magazine and Art Observed’s overview of Bushwick Open Studios!”