| Issue #48, March 9, 2007 |
Art Commentary
SURPRISING PLACES: ART SITES
By Marion Wolberg Weiss
Part 1
Let’s face it. It’s difficult to get particularly excited about art (or most anything else) in the dead of winter. Even so, there are a few exhibits around the area that deserve attention and praise, perhaps because they are somewhat unusual. In a nutshell, they rescue us from the boredom that the season evokes. At least for a moment.
One such example is Art Sites, a new venue in Riverhead. Before arriving, we imagine it’s on Main Street, an area that’s been spruced up and made a little quirky. To our surprise, however, Art Sites is located a few miles from the town center, almost, but not quite, in the middle of nowhere.
The large, industrial-style building is another surprise, not at all like the small, specialized setting we created in our head. Much to our greater surprise, we encounter outstanding art and knowledgeable, gracious owners, architects Glynis Berry and Hideaki Ariizumi.
The space is another wonder: large, airy, friendly. In fact, it’s probably the most spacious art gallery on the South or North Fork, always a welcoming phenomenon.
Oddly enough, the current show, “Between Mobility and Immobility” seems appropriate: the idea of mobility is directly related to the ease that visitors can move about the gallery; the opposing concept of immobility often connects to the individual art pieces. For example, there’s Mr. Ariizumi’s architectural drawings that, by their very nature, are rooted to a building’s foundation. Thus, they symbolize stability and security. And immobility, resisting changing fads and fashions.
Raymon Elozua’s works, which include steel wire, plywood, plaster and found objects, seem equally immobile in their own way, their suggestion of mythic themes adding to the subtle idea of stasis or immobility. Even so, there’s also a hint of movement, of the feeling that the pieces might take off at any moment, to spread their “wings” in outer space.
A vase-like sculpture by Ema Futselaar recalls a pair of upside-down dancer’s legs, and yet it also evokes the feeling of both movement and stability. It is, indeed a striking piece because of this very contradiction.
Christopher Chambers’ sculptures, which spectators would swear were made of plastic, are other examples of this contradiction. Their vertical forms give the impression of leaping into the cosmos. In fact, one piece resembles space ships (or oddly enough, test tubes). Yet, their solid construction and translucent colors convey the idea of spiritual elements which will exist forever.
The current show will be on view at Art Sites until March 11. Call 631-591-2401 for information.
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