Shuffling Liminal Episodes

June 25- July 31

Shuffling Liminal Episodes features drawings by artists Leslie Kerby and Michelle Weinberg, whose works on paper and vellum resemble snapshots of settings, some of specific places, some imagined, capturing an arrested moment from daily life. Both storytellers at heart, the two artists draw objects as protagonists in their visual tales. A desolate bench, a studio table with a lamp, a tiny figure stepping out of a big house —random belongings, furniture, activities of daily life come to the forefront, projecting an inner life while also hinting at human life outside their inanimate existence—always with a lingering whiff of humor. Kerby and Weinberg also share a collage aesthetic which works well to unify their fragmented narratives.

The two artists say that the exchange of ideas and the discovery of commonalities has charged their practices and led to this exhibition. For instance, they have collaborated on an installation in which smaller framed works are mounted within larger backdrop drawings that de-construct aspects of their works. Loosely drawn pattern, geometric elements, fragments of plant life and texts form the backdrop for their individual works. “Is an image a centerpiece, a fixed icon? Or is it a rest stop on the way to the next place, beyond the border of the frame?” they ask.

Kerby and Weinberg say that they both enjoy the fluidity, swapping figure and ground, “shuffling images like cards in a deck, like tunes in a playlist.” Here, Kerby who usually tends to explore in her work social networks and systems, turns inward, to look at the interior spaces of her community. She says the paintings are an outreach to her friends during lockdown, when she asked them to contribute by sending photographs of relaxing places in their homes from which she painted detailed, personal observations of their surroundings. Outside, Kerby says she observed how traces of community re-arranged and interrupted by social distancing, “aware that this too is transient and will slip away.”

Weinberg compares her experience drawing to flypaper—a sticky surface, catching all manner of thoughts, objects, the world on her table. Drawing for her engages a literary feel, filled with flitting thoughts, including scribbled titles on the margins, text and image coalesce into one space. Architectural schemes invite the viewer to project their own experience into—re-arrange the objects on a table, open a door. The hand of the artist is visible through the graphite smudges and thumbprints on the white of the paper. In her drawings, “unserious volumes obey a playful physics."