April 14 - May 6
Reception - Saturday, April 14th, 7pm-10 pm
"False Mercury" - Downstairs Main Gallery
False Mercury is a continuation of Cravens' exploration of the body through distortions and duplicates. In this installation, she utilizes mirrors and origami to jumble the body and question the barrier between the physical and mental. Segmenting and focusing on different body parts, Cravens creates abstract origami sculptures that show the multiplicity present in our physical forms, and the disconnect with our mental selves. Through the use of mirrors, she invites the viewer to perceive themselves, layered within the carefully constructed compositions. Literally reflecting on where one begins and the other ends.
Lynné Bowman Cravens is a fine art photographer, making unique pieces from an infinitely reproducible medium. Through meticulous physical distortions and transdisciplinary techniques Cravens creates photographic pieces that address her personal experiences, identity, and physical form. Each piece and series range from large-scale digital installations to delicate one of a kind objects.
Cravens currently resides in the DFW area, orking as the Gallery Manager at The Art Galleries at TCU. She s in her second and final season as a member of the artist run co-op, 500X Gallery in Dallas, Texas. Her work was also featured in the June 2016 issue of the British Origami Society’s international publication, and in the 4th annual Rising Stars exhibition at Turner House. Cravens recently had a solo exhibition of her work in Fort Worth at the Moncrief Cancer Institute.
"Verisimilitudiness" - Pit Gallery
Verisimilitudiness is the quality of having the appearance of being true or real. It’s not a real word, but just wait. Kalee Appleton’s solo exhibition, Verisimilitudiness, is the last and final exhibition by Appleton at 500X Gallery, so naturally it will be the most verisimilitudinessy of them all. The work being exhibited will indeed be based on truth (its photography after all), but in reality, its full of lies. Not little white lies, but big huge enormous lies that pull you in and seduce you. These huge lies are in the form of broad expansive landscape photographs that are inspired by mainstream photographic backdrops. Yes, the kind you had your photograph taken with as a youngster. As this description of the exhibition might indicate, this work also calls into questions the nature of fine art photography within the realm of the art world.
"In Search of the Uncanny Valley (Edited)" - Upstairs Gallery
Growing up when the console wars between Nintendo, Sega, Sony and later Microsoft made me keenly aware that I was seeking out not the most entertaining system but the most ‘realistic.’ I became aware of the term “The Uncanny Valley”, originally described in 1970 by Dr. Masahiro Mori. He proposed that as robotics moved closer and closer in their abilities to replicate humans in all ways, we would see a drop in their acceptance immediately before and surrounding the crossing this reality threshold, before eventually becoming acceptable again. He termed this phenomenon the “uncanny valley.”
Utilizing a Sony PS4 and the game Grand Theft Auto V, I submersed myself into the uncanny valley of Los Santos. These images are captured in a documentary style throughout the large ‘sandbox’ style gameplay with the characters’ phone camera. I have printed them with archival methods in the darkroom to add permanence to an image originating from what is normally an impermanent medium. The interplay between this analog output of a digital source by means of the documentary photo style are key in this work. Although this game is not the most realistic in terms of graphics currently available, it is close enough to be confused with our reality upon first glance. In that way the images serve as markers, but to what at this point isn’t clear. Maybe it’s just the beginning of the trip through the valley, or the turning point, when we begin to accept what was once maybe too ‘uncanny’ because at this moment we still create and control it.
"Constructing the Psychographic" - Project Space
500X Gallery presents the two-person exhibition, Constructing the Psychographic, by H. Jennings Sheffield and Chris Ireland April 14th – May 6th, 2018.
In 2014, Cambridge Analytica obtained information from over 250,000 Facebook users. Focusing on the Facebook “likes” recorded by those users and their friends, Cambridge Analytica utilized this data and information to help influence the outcome of the presidential election.
This collaboration represents the physical manifestation of data retrieved and collected over 7 days from the artists’ Facebook feeds. The data mined is presented as wallpaper, creating a physical space made of virtual information. Then the artists utilized a psychographic survey application developed by the University Cambridge designed to predict personality traits through Facebook content, and ran their own Facebook pages and feeds to gain “insight” into their own personalities. Constructing the Psychographic presents the nature of the digital footprints we share so freely on the internet, and questions the validity of constructing identity through the individual profiles created.
H. Jennings Sheffield is a lens-based artist and Assistant Professor of Photography at Baylor University. Chris Ireland is an artist, 500X gallery member, and Associate Professor of Art at Tarleton State University.
“The Gravity of It All” - Project Space
Abby Sherrill and Tabatha Trolli
“The Gravity of It All”, pairs the work of Abby Sherrill and Tabatha Trolli in an exhibition interpreting each artists’ experience of time and space. Both Sherrill and Trolli work with combinations of found objects and mixed media drawing through installation, with an interest in exploring the perception of meaning.
Sherrill’s interests lie in the philosophical and psychological spaces between learning, language and reality. Often through illusion and layered pattern, the work emulates the accelerated complexity of deciphering meaning in a fictive world. Sherrill uses symbols and terminology borrowed from the laws of physics to cope with feelings of anxiety and disorientation.
Trolli’s relationship with objects is connected to how she interprets the body, the emotional self and human consciousness. Casts of interior spaces are quiet references to our relationship with time and space and how we choose to occupy them. These ghosts of spaces become inflated memories and meaning that displaces our obligation to be present in this moment. These objects are abstract representations of mindless ritualistic behavior suggesting paranoia or altered perceptions. They become disruptions in the routine…the mundane…the accepted.