Light Structures

Laura Fritz

Show preview by Elizabeth Pusack

Prisms, projections, and shadow play are among the previously employed strategies of the five artists featured in False Front’s forthcoming show of light installations, curated by Canadian-born Portland artist Laura Hughes. False Front is keeping the particulars in the shadows pre-show, but Hughes conjures the history of human conceptions of light in her curatorial statement.

Sydney S. Kim

“In ancient times, it was thought light was contained within the eye itself: emitting onto the seen object like aiming a lantern. We now understand light through modern science as electromagnetic radiation visible to the human eye measured by wavelength, frequency, speed, and direction.” She, and presumably the show, explore perception and visual engagement with everyday life.

Adam Ekberg

Artist Laura Fritz, who exhibited an intriguing installation at Plazm’s 20th Anniversary event last summer, contributes new work to “Light Structures.” Says the Seattle Post Intelligencer, Fritz’s work involves “the inside of your brain, the place where you process light, make memories and filter out stray things. In your account of what happened on any given day, you may not include the strand of hair that fell across your face, the inanimate objects that appeared to jump at the edge of your vision, the moth you saw trapped on a screen or the cat waiting behind a door. Those stray things appeal to Fritz.”

Also eagerly anticipated is an Adam Ekberg “minor spectacle–” his works often pass for especially charming screen-shots–as well as new works by Cay Horiuchi, Sydney S. Kim, and Scott Rodgers.

Cay Horiuchi

The show opens on April 7th, with an opening reception from 6-9, and runs through April 29th. Viewing hours are Saturday and Sunday from 12-3 or by appointment. False Front’s mission is to provide regional artists and curators with with an exhibition option beyond the conventional gallery.

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One Response to Light Structures

  1. RCH says:

    Sounds cool… I’ve always wondered why there aren’t more paintings with the hair, eyebrows, and nose of the viewer as unfocused frame. Hi, Betsy!

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