Debra Baxter has exhibited her sculptures and jewelry at form & concept since the gallery’s founding in May 2016. She helped lay the foundations of the gallery’s mission: to challenge preconceived notions about art, craft and design and blur their borders. “Debra is a master of what I call ‘material inversion,’” says Frank Rose, Gallery Director at form & concept. “She might pair soft materials with hard ones, or take it one step further and make a dense medium look like it’s light and flowing. She creates invigorating visual and tactile experiences, but there’s also a boundary-shattering conceptual element to the work.”
Baxter will conduct an artist talk on Saturday, May 19 from 2 to 3 pm. Tooth & Nail opens on Friday, April 27 from 5 to 7 pm, and runs through June 16, 2018.
“This thing could fail, and it could be a nightmare,” says Debra Baxter. “But who cares?” The Santa Fe sculptor makes artworks that combine divergent materials—metal, glass and stone, for example—so there’s always a risk that they’ll split apart during the creative process. Informed by her passion for armor and weaponry, Baxter charges ahead fearlessly to create elegant and sometimes dangerous objects. Her new solo exhibition at form & concept, Tooth & Nail, includes flowing bronze breastplates that hold glittering minerals, and metal throwing stars that are cast from lace. There’s also a wicked bronze-and-quartz sculpture from her Smithsonian-collected brass knuckles series. “I’ll often emerge from these crazy material experiments bruised—but I’m never broken,” says Baxter.
Baxter’s solo exhibition Tooth & Nail opens on Friday, April 27 from 5 to 7 pm, and runs through June 16, 2018. Baxter will conduct an artist talk on Saturday, May 19 from 2 to 3 pm.
“Everybody that lives in New Mexico goes to Arizona every once in awhile,” says Wesley Anderegg. “That’s the only reason Arizona exists, is to drive through to go to California.” It’s a particularly sacrilegious statement for a born-and-raised Arizonan, but Anderegg hasn’t lived there for decades. He’s also never directly revisited his wild childhood through his figurative ceramics—until now. “As you get older, you kind of get reminiscing,” says the California-based artist. “It’s like, oh man, I’m on the downslope these days. Time to look back.”
In a new series of diminutive ceramic tiles, Anderegg flattens his tragicomic sculptural figures with a playful nod to Pop Art paintings and comic book panels. The painted compositions evoke Anderegg’s experience growing up in the sun-drenched and lawless Sonoran Desert.Wesley Anderegg:ARIZONA debuts at form & concept on Friday, March 30 from 5 to 7 pm. Anderegg recognizes the humor of mounting a show called ARIZONA one state to the east, but it’s a simple matter of personal preference. “I thought about actually having it in Arizona, but I like you guys better,” he says with a grin.
Wesley Anderegg:ARIZONA debuts at form & concept on Friday, March 30 from 5 to 7 pm, with an artist talk on Saturday, March 31 from 2 to 3 pm. The show runs through May 19, 2018.
As Thais Mather’s critically acclaimed solo exhibition Reckless Abandon approaches its closing date, join her for a final public engagement on Friday, February 2 from 5 to 7 pm. The Magazine just published a fantastic review of the show by Diane Armitage in their February/March relaunch issue. Here’s an excerpt:
There are many threads to follow in Reckless Abandon: from images of Stone Age fertility goddesses; to the Walpurgisnacht, or Witches’ Sabbath, a performance of hellish and deafening heavy metal music played in a cave-like room and accompanying a video of fire projected on a large bowl of water; to the life-size wooden figure of a woman burnt from head to toe. This latter sculpture, Mine and Thine, along with the charred bust Thaumaturge, (a miracle worker or a magician), are the two most powerful works in Mather’s exhibition. The presence of the blackened figure, laid out as if on a burial slab, sucks all the energy out of the room it was installed in, just as it was intended to do. It’s a timeless reminder that women, along with men, are due for a ritual funeral pyre whereby the darkest aspects of our collective history are dematerialized and transformed into a more enlightened chapter of human behavior in the evolution of consciousness. How else can the phoenix rise from the oppressive ashes of history and say, “I can just leave you… Now I can just fly away”?
Read the rest of the review here, and come see Reckless Abandon at the closing reception tonight. The exhibition officially ends on February 10.
As Thais Mather’s critically acclaimed solo exhibition Reckless Abandon approaches its closing date, join her for a final public engagement on Friday, February 2 from 5 to 7 pm. Light refreshments will be served. Reckless Abandon runs through February 10, 2018.
“I think people are getting these catastrophic feelings, that this is the end,” says Thais Mather. “I don’t believe in that. I think this is a beginning.” The feminist artist’s new exhibition, Reckless Abandon, comes at a time of cultural, political and environmental upheaval. It’s an ideal moment to examine human history from a revolutionary stance—and present urgent questions that can reveal a new path forward. Through a monumental art installation and an interconnected series of performances and events, Mather will challenge viewers to abandon patriarchal structures in favor of a transcendent vision for humanity.
Thais Mather’sReckless Abandon opens TONIGHT from 5-7 pm—with a reading from 2-3 pm on Saturday—and the artist has been hard at work installing the show and engaging the press in a conversation about art, history and feminism. Watch the latest clip from our video preview series above, and check out links to press about Reckless Abandon below.
It’s not every day that a gallery as spacious as the Railyard’s form & concept opens up an entire floor to just one artist, but Santa Fe’s Thais Mather has a massive body of multi-disciplinary work and a whole hell of a lot to say. With Reckless Abandon, Mather examines the ideas of humanity, feminism, activism, the end of days and so much more through visual works, collaborative performance pieces and readings.
Megan Bennett of Albuquerque Journal North wrote an awesome preview of the exhibition. A little excerpt:
[Mather’s] mixed-media work, inspired by mankind’s evolution over time, with its art and symbols, ranges from resembling something that could have been made by cave people to more modern conceptual pieces. All of it, she says, is meant to encourage the audience to reflect on what’s worth holding on to and what’s not.
“There’s a point we’re coming to as Americans that our privileges are going to run out,” said Mather. “It just doesn’t matter any more. It’s a globalized world, and there’s going to have to be some complete reimagining with how the culture functions and how the global culture functions if we really plan to survive.”
Kathryn Davis interviewed Thais among the artworks of Reckless Abandon for her media platform ArtBeat Santa Fe:
Emily Van Cleve of Santa Fe Arts Journal wrote up the show earlier this week in an article aptly title A Vision for Humanity. Here’s a blurb:
Mather describes the process of making art as her product. “The show was birthed as an exploration of material and self, with the self as material and the material as self,” she adds. “I pushed the limits of what I knew but tried not to manipulate any material beyond what it was teaching me. So I worked with clay and let the clay converse with me. I worked in watercolor and we talked and didn’t fight. I just spent time and got lost and found in the process.”
Jared Weiss has forgotten much of his subject matter. Or rather, the scenes that he paints are often buried somewhere deep in his unconscious. Reviving suppressed memories can be a dangerous game, but the Santa Fe artist has some heavy hitters on his side: Sigmund Freud, Jacques Lacan and Slavoj Žižek. Weiss draws inspiration from the famous line of psychoanalysts in his new solo exhibition at form & concept, He’s Either Dead or It Was His Birthday. Opening Friday, June 30, the show conjures a strange sense of déjà vu. Weiss’s figurative images—which resemble warped photographs from a massive theater production—are sure to lodge in the back of your mind.