(top) Take the Bait, Kevin Shahan, 4'x4', acrylic on board (bottom) Wheel, Debra DeGregorio, 2'x3', charcoal & pastel on paper
Germination::Reformation
Opening Reception
Friday, 18 March, 5-9 p.m.
Closing Reception
Friday, 8 April, 5-8 p.m.
Main Gallery, Suite 30
Kevin Shahan :: Reformation
Co-curated by Daiv Whaley
Live musical performance by
dot., 8-9 p.m.
Annex Gallery, Suite 31
Debra DeGregorio :: Germination
Co-curated by Tracy van der Kuil
Live musical performance by
Tokyo Shapiro, 6-8 p.m.
CLEVELAND, OHIO — GALLERY Ü CLEVELAND announces two solo exhibits opening the evening of the ARTcade ARTwalk on March 18, 2005. “Germination”, co-curated by Tracy van der Kuil, featuring the drawings of Akron artist, Debra DeGregorio, will be shown in Suite 31 (annex gallery) with a musical performance by Tokyo Shapiro, from 6-8 p.m. And “Reformation”, co-curated by Daiv Whaley, featuring the paintings of Cleveland artist Kevin Shahan, will be shown in Suite 30 (main gallery) with a musical performance by dot., from 8-9 p.m. The opening reception is March 18, from 5-9 p.m. The exhibition runs thru April 8 with a closing reception from 5-8 p.m. Gallery hours are Friday and Saturday, 12-4 p.m. and the 3rd Friday of the month ARTwalk, 12-9 p.m. or by appointment.
Debra DeGregorio’s — visceral abstract drawings portray organic, germinating forms as an evocative metaphor that arouse our curiosities and fantasies. Through root-like, seed pod-inspired human surrogates, DeGregorio creates life-sustaining realms that physically press on the mind and push to be absorbed spiritually. Her drawings trigger an association with evolution and speak to our most primal connections to our earliest ancestors and force us to question the current state of humanity. DeGregorio’s use of color, form, or mark are meditative and subtle, yet lush with life. Her drawings are an instant recording of her personal growth, much the same as words are to a writer. The succulent details of DeGregorio’s work promises to captivate the viewer as they discover her stokes and explore the photosynthesis and mystery of existence.
Born in Pittsburgh, Pennsylvania, DeGregorio studied printmaking and drawing at Kent State University where she received a BFA in studio art. Her work has been shown by galleries in the greater Cleveland area as well as Pittsburgh, PA. In addition to pursuing a career in art, DeGregorio has worked therapeutically with the elderly and is studying to become a Hatha yoga instructor. She is a member of WARM (Woman’s Art Recognition Movement) and resides in Akron, Ohio.
Kevin Shahan — has been creating an exceptional and intriguing body of work that is reminiscent of the American Pop art movement. Trained as a sculpture, he found himself drawn to painting five years ago and has devoted himself to the medium. Through his unique brand of imagery he addresses modern issues and current events, registers antiwar/terrorist statements, and voices concern over the social, political, economic, and the environmental fate of our planet. Shahan draws upon the iconography of advertising and mass media to conjure a sense of modern life. His paintings allude to the “must have” youth-oriented tone of the time — a powerful reflection of our cultural climate in the midst of a war. Shahan’s work is visually complex and depicts specific thoughts, or actions and pays homage to the destructive power of the elements and our social views on history, aging and decay. The surface of his paintings look as if they were actually decaying sections of a billboard, though entirely painted they are collage-like, showing us multiple layers, fragmented sentences and images that transform the original message. The obvious brashness of these images are eye-catching, but the combinations undercut the typical intentions of commercialism and instead suggest more subtle investigations into human interaction and contemporary living. Shahan’s work is subject to viewer interpretation. His combined images can mean many different things depending on the viewer’s point of view, leaving no right answer. These inventive works form cohesive narratives in which dissonant objects combine to form resonant commentary — a “reformation” of iconography and surfaces.
Shahan graduated from Kent State University with a BFA in studio art. He has produced everything from painting and figurative works to full room installations, built sets for area theatrical productions and taught himself the art of video editing while working as a cameraman for a local production facility. Shahan has also produced an electronic video compact disc and is best known for developing the original prototype guitar used to initiate Guitar Mania. The guitar stands seven feet tall and is in the permanent art collection of The United Way. Shahan has shown locally, most notably at the BK Smith gallery 48 Hours exhibit at Lake Erie College, as well as in Pittsburgh, PA. Shahan currently resides in Cleveland, Ohio.
Co-curator
Tracy van der Kuil — is an interior designer and native Clevelander who recently relocated from the Netherlands where she was employed as an assistant tax adviser at All Arts Tax Advisers in Rotterdam. She advised artists, performers and musicians regarding tax rules and regulations of the Netherlands and negotiated tax waivers for some of the biggest names in R&B and the contemporary music industry. van der Kuil graduated from Kent State University’s School of Interior Design where she later became a studio instructor for first year interior design students. She has designed interiors for clients such as The Cleveland Clinic Foundation and Mannequin Odd Recording Studio, Aurora, Ohio. Her passion for the arts lead her to her debut as a co-curator and she has recently joined Gallery Ü Cleveland as assistant director. She currently resides in Ohio City with her husband, Ed van der Kuil.
Co-curator
Daiv Whaly — is a writer and visual artist who is also motivated to produce events and exhibits that mutually benefit the producing and viewing sectors of the creative community. He has written for national music publications and currently interviews local musicians and bands for his “Tuning In” column in CoolCleveland.com. His visual art includes Polaroid prints, lightworks, and propaganda — usually of a spiritual or eco-sociologic nature. He is developing his first comic book series and a Rock-based performance ensemble. Whaley resides in Akron, Ohio.
Music
dot. — now in their third formation (performing under previous monikers, Luva and aeris), Craig Pearsall (aka djplasticefx/plas’tique) and Shelly Gracon (aka sh’elle) have created a new sound they term “ARTpop”. Influenced by Explosions in the Sky, Antony and the Johnsons, Cocteau Twins, Massive Attack and the Jesus and Mary Chain, their approach to writing music is minimal and they are always chasing the perfect dynamics. You will find their sound to have strong melody, with angelic and passionate vocals layered over textures of bass, guitar, samples and drum machines. For more visit www.thedotsound.com. Gracon also recently joined Gallery Ü Cleveland as media relations assistant and is president of get mod! productions, www.getmodproductions.com
Music
Tokyo Shapiro — is composed of Krista Tortora and Joe Minadeo, who are both known for their roles in a diverse range of musical projects from the noisy groove based Full Blown Kirk to the hip-hop collectives, Honeypot and Low in the Sky. Tortora and Minadeo will be creating a chilled out ambient vibe for this show using vocals, guitar, upright bass and turntables. Tokyo Shapiro is a facet of the artist collective www.patternbased.com.
PRESS
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4/7/05
FreeTimes
Nature vs. Nurture
Organic and Man-made Forms at Gallery Ü
by Lyz Bly
AMID THE TRANSIENT GALLERIES that make up the Colonial ARTcade is Gallery Ü. Owned by Patsy Kline, the gallery, which is actually two distinct spaces within the urban, mall-like building, is a reliable venue for top-notch art by regional and national artists.
Gallery Ü's current exhibition, Germination: Reformation, Debra DeGregorio & Kevin Shahan, features 11 of DeGregorio's abstract, lucidly rendered drawings of intriguing organic forms in one gallery, and eight frenetically painted, Pop Art-inspired works by Shahan in the other.
The curatorial concept is quite compelling, as DeGregorio's work is about creating fantastical forms that are at times plantlike, at times evocative of human forms. Shahan appropriates and reconfigures signs and text — the visual language of everyday life — in his paintings. The play between constructing (or creating) and deconstructing (or taking apart and reconfiguring) forms and signs is clever, yet it would have been more interesting to see DeGregorio and Shahan's work together, intermingled throughout the Gallery Ü spaces. Such interplay could have served as commentary on the reproduction and deconstruction not only of signs, but also of the intangible, sacrosanct realm of abstraction, which is allegedly more “pure,” as it represents the side of humanity that is primal and spiritual. Integrating the artists' works might have also addressed the way the visual language of popular culture permeates the American psyche.
Despite this limiting curatorial scheme, Germination: Reformation does present large bodies of DeGregorio and Shahan's works, which are visually gripping in their own right. DeGregorio's drawings are simple and resplendent. Done largely in black on white paper, they subtly and sparingly incorporate matted colors such as cool light blue, hot red and muted peachy pink. The artist frequently calls the forms “bulbs” or “pods,” terms that reference plant life, yet the shapes are frequently reminiscent of human body parts. Pink & Blue Bulb, for instance, depicts a blue phallic form, complete with pink “testicles.” But the form is rendered fantastic as tendrils, like those of a sea creature, extend from the round, pink shape. The shapes are accentuated by gracefully drawn pencil lines, which continue beyond them; the lines are deliberate, yet rendered with abandon. While DeGregorio's drawings convey an expressionistic otherworldliness, their anthropomorphic, organic qualities imbue them with a comforting familiarity.
From a distance, Shahan's paintings appear as veritable orgies of images, text and symbols. In a culture filled with floating signs, Shahan's works attempt to congeal free-floating, contemporary iconography. Appropriating images from many facets of consumer culture, including magazines, postcards, billboards, advertisements and graffiti, he re-contextualizes fragmented words and images, as well as lines and colors. The paintings are the 21st century's version of Pop Art.
Time of Her Life , created in August 2001, presciently depicts a passenger plane pointing downward, with birds flying contentedly around it. On the right, the word “non-returnable” is printed in blocked letters that are scratched into, revealing the colors beneath. Shahan says the painting reminds him of the pre-9/11 world, when “things were more idyllic.” Shahan's paintings depict American excess; not only a glut of images, but an overabundance of objects and mundane ideas tied to consumption. Things were perhaps idyllic to some, but certainly not on a global or national scale. Shahan's paintings illustrate the oblivion Americans were living in before 9/11; they also reveal the oblivion many people still inhabit.