Craighead Green Gallery | 11/30/21 - 11/30/21 | | SCOTT SIMONS, KENDALL STALLINGS, ABHIDNYA GHUGE | Dallas

Art Exhibition |
Craighead Green Gallery
1011 Dragon St. • Dallas, TX • 75207
https://www.craigheadgreen.com/

11/30/21-11/30/21

Whether you view it through a microscope or an airplane window, our world is textured, diverse, pocked, and burnished in its splendor. It isn’t always pretty, but it’s always arresting, remarkable and unforgettable.

I love deep, deep forests, oceans, vast deserts, foggy weather and outer space – the mystery and the lure of what seems like endlessness. And, we can only see so far.

We can only see so far ahead.

For me, that’s pretty much the human condition; there’s something very human about being slightly blind, all the time. We are, in many ways in this life, operating with very limited sight.

We’re a little bit blind.

We make up stories and folklore to make sense of an existence that we don’t completely understand and will never completely understand as long as we’re in it. We build, and we worry, and we work so hard, and all the while, all the other creatures on the planet seem quite content to just sit and be and look.

Yet, we humans want meaning in everything. “Why?” is the first question we learn to ask. We want to understand the why.

My work is an attempt to engage with something fundamental and elemental about the human experience and the life we’ve all found ourselves living in. We’re a little bit blind. We don’t have all the answers and never will. Yet, we go on asking for meaning.

We go on through the fog.

And I want my work to be beautiful. Because this life we’re in – this human experience – is textured, diverse, pocked, and burnished into beauty.

ARTIST PAGE
WEBSITE
KENDALL STALLINGS | HUMAN/NATURE
View fullsizeTree Line.JPG
View fullsizeTidal Pool.JPG
View fullsizeThe Clearing.JPG
View fullsizeTenuous View.JPG
View fullsizeSong for Lartigue.JPG
View fullsizeShelter.JPG
View fullsizeReturn to Basics.JPG
View fullsizeRespite.JPG
View fullsizeElms-and-Moon-2-Diptych.jpg
View fullsizeConstellation.JPG
View fullsizeBeing There.JPG
View fullsize5 30 am.JPG
Born in Little Rock, Arkansas, Kendall began art instruction in 1965 at the age of 11 and continued with his interest in drawing and painting into college. He graduated in 1980 with a B.A. from the University of Arkansas where he focused on photography and printmaking.

After moving to Dallas, Texas, Kendall worked from 1982-2002 as a painter and art director for Prelim Architectural Illustration. Here he painted illustrations for such clients as Disney, Trammel Crow, HKS, American Airlines, Hyatt and Hilton. During this time he was also developing his style as a fine artist and is now represented by galleries in the Texas/Arkansas region.

ARTIST PAGE
ABHIDNYA GHUGE | FINDERS KEEPERS
View fullsizeGhuge_FinersKeepers_)6.jpg
View fullsizeIMG_1448.jpeg
View fullsizeIMG_1445.jpeg
View fullsizeIMG_1447.jpeg
My work is centered on a broader perspective of the value of human life, dignity of labor and the power of people to come together to create change. Within this concept, I bring focus to the female life, its disposability, fragility and power.

The humble white paper plate is my material of choice for large scale installations and sculptural works, while ink and watercolor/gouache is used to created highly detailed drawings. These drawings explore the intricate relationships, personalities, and portraits of women who have faced hardships, difficulties and experienced victories in a male dominated society.

As a first-generation immigrant to the US, I have experienced a drastic shift in my ideas of human disposability. I grew up in a culture where a female life lives in a dichotomous state of a doormat and a deity, a burden to the parents and an object to be traded, sold and exploited. I have witnessed circumstances where a woman has a voice, yet she cannot speak, she is sacrificial yet powerful enough to destroy and devastate.

The process begins with hand carving a large-scale woodblock and printing thousands of white paper plates, sealing them and then creating an organic form that occupies and changes the space it resides in. I urge people to look at the form as it influences the space and creates new encounters. To think beyond the obvious form and explore the possibilities of simple paper plates – a metaphor for human life and mortality – coming together in large numbers, changing the space into a positive experience. The work of human hands is to be celebrated, encouraged and cultivated. The meticulous repetitive processes in my work is an offering to the dignity to human labor.

In this sense, my work is a call to all humans to come together to create a positive change in the physical and psychological space.