Katherine Brimberry at LCU Pioneer Gallery



Brimberry’s selection of prints on display at the Pioneer Gallery at the LCU Library (noticeable due to the 13-ton John Wayne Head in the corner), offer strange and familiar collections of objects, textures, and symbols that explore the potential meanderings of memory. “Terrascaoe” alters the traditional domestic scene of a table setting by putting a white plate on a bed of grass. The object takes on a new role, serving as a connection to nature instead of the home. A landscape view of a cliff can be seen within the plate, further distancing us from the plate’s usual function and becoming a window into another time or place. This surreal scene becomes an intriguing symbol of our communion with the natural world.


“Terrascaoe”


By combining smooth painterly marks with intaglio scratch marks, Brimberry’s landscapes recall different sensations and colors as if they have been through a dream-like filter. “Looking West” relies on textural marks to build a dark expanse that overtakes the surface. Her scratchy intaglio lines remind me of the kind in a Wols painting, creating sharp heaviness in some areas that then melts away into soft yellow and black. The print succeeds in immersing the viewer into a hazy, surreal scene from what is presumably the artist’s memory.


“Looking West”

“Homage to Morandi” continues to utilize spaces made of texture, while housing a centered small etching of cone shapes that fit inside each other. Their placement feels quiet and calculated, much like the simplified forms of a Morandi still life from which this piece is inspired. Brimberry’s lines are very reduced and suggestive, allowing for a moment of meditation and intimacy.

A set of photopolymer prints titled “Self Scans” explore the inside of a person’s silhouette. The most distinct outline is seen in Scan 1, with a prominent red figure overlaid on a solid yellow background. Scan II is less visible, with hues of grey and blue, and the outline broken up with a glitched vertical pattern. Scan III presents a figure that is almost barely visible, lost to shades of light and dark green. In this set of prints, Brimberry addresses something more personal to memory – the recognition of her own face. Variation is used in a conceptually powerful way, allowing the process to alter the same image through the series, making the idea of memory and change manifest.


“Self Scan” 2


Through a variety of subject matter, Brimberry taps into something that goes beyond individual objects or experiences. Her balance of different marks and colors allow the viewer to escape into these windows of memory, trying to find a connection, trying to remember for themselves exactly what these images are tapping into.

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