Andy George Robertson ’s latest foray into sculpture is an embodiment of his interest in modernist furniture and art. Taking cues from armchairs and recliners the artist’s organization of found objects alludes to familiar furnishings. The intertwining of plywood, chrome, metallic drums, destructed chairs, and plastic remnants all create a playground for formal mischief. Spheres of various shapes and sizes inhabit these realms; mossy boulders, smooth shimmering marbles, and large inflated exercise balls. In some instances the orb interacts kinetically with its dwelling, looping around and defining the piece’s perimeter. These autonomous works create their own system of physics while adhering to a principle of aesthetics. The “shapely seats”, as the artist describes, have rounded corners and edges, a smooth simplicity of shape and symmetry. The earthy palette of Robertson’s materials gesture to an atmosphere beyond the gallery walls toward the greater outdoors.
Clayton Schiff envisions landscapes that are both humorous and contemplative. Painted in rustic pastel tones, Schiff provides a curvy setting for a troupe of dazed characters. Thick tree trunks, twisting roads, bending rivers, and slithering manholes align to furnish a loose sense of surroundings inhabited by animal likenesses with a twist of self-aware human temperament. These frozen moments are informed by Schiff’s recreational wanderings; daily occurrences and strewn contents are mentally catalogued and then rehashed on the canvas, establishing narrative through stillness and recurrence. A dog in a sleeveless shirt gazing over a glass of water, an alligator on a La-Z-Boy chair, a dinosaur looking out the window, a cat with a midnight snack; all are the protagonists of Schiff’s kaleidoscopic domain.