HIDE

AND
SEEK

exploring the abstract

June 27 July 19, 2015

WOOD
B U R Y
S

CHEEYEON
TANYA BRODSKY
JAIME DERRINGER
AUDREY HOPE
KARA JOSLYN
PATRICK SHIELDS

INTRODUCTION
Abstract is arbitrary. Its hard to pin down or make
complete sense of it seems that if there isnt a figure,
its abstract. Looks messy abstract. Uses unusual
forms abstract. But thats what abstract is supposed
to be. All of that and more. The word inherently
suggests something unexpected, something new, but
most importantly, something intangible, something
unable to be put into words. Because sometimes, its
not about listing, defining, picking apart. Sometimes its
about seeing, and feeling. Take the time to look at the
piece, see what mediums the artist used, think about
how he or she did it. The wall text is there, but thats
just one interpretation. In Hide and Seek, the abstract is
subjective, and its up to the viewer to piece it together.
Hide and Seek emphasizes the way abstraction gives
form to artists intuitions. Abstract may mean nonrepresentational and independent of visual reference
but for each artist, there are decisions that are made
about material, about technique, about process that
are deeply personal. Here, we have an artist who works
large, messy and vigorous; an artist who uses resin, wax
and plastic to create simple, subdued works; an artist
who uses lines and forms but sometimes still covers
them up with swathes of paint; an artist who creates
using things found; an artist who plays with light and
scanning devices to help us imagine paint differently;
an artist who transforms rooms and environments with
large, commanding geometries. Six artists, one theme of
abstraction, yet six different bodies of work. The idea
is individual abstraction. Here, abstraction is not defined
and pigeonholed. In Hide and Seek, abstraction belongs
to the artist, and to the viewer as well. What it means
might be hiding, but its definitely there.
Seek it out.
Alex Jen
Curator

ACKNOWLEDGEMENTS
Inspiration and guidance for Hide and Seek are owed
to Forrest McGill and Allison Harding, whose exhibition
Gorgeous laid the groundwork for how this show
approaches abstract art differently. Furthermore, Benjamin
Suttons oversight was very helpful in shaping the text
written for this exhibitition.
I would like to thank Hugh M. Davies for his kind words
and immense support; his insight allowed this show to go
on, setbacks notwithstanding. Mark Quint, Ben StraussMalcolm, Sarah Trujillo-Porter and Nina Makosch have all
shown me how openings ought to be run, and have given
me a goal to work toward. Deepest thanks go to Drei Kiel
for his patience in preparing and installing the works for this
show. I would also like to thank Mary Beebe for her wisdom
in planning projects, Charles Castle for his advice on all
things and Holland Cotter for his steady encouragement.
Hide and Seek could not have been possible without Debra
Abel, Miki Iwasaki and Catherine Herbst at the Woodbury
University School of Architecture; their championing of this
project and willingness to provide the space for the show
cannot go unmentioned.
This publication was generously provided for and printed in
kind by Charlie Affourtit of the Stephen Gould Corporation;
his readiness to provide all the resources needed to see this
publication through deserves recognition. Special thanks
go to Grace Bruton and her photography and design
expertise, for providing a clear and elegant presentation of
the material.
Finally, I am tremendously indebted to the artists who
participated in this project, which seeks to bring abstract art
to viewers in a new, experimental presentation: Cheeyeon,
Tanya Brodsky, Jaime Derringer, Audrey Hope, Kara Joslyn,
Patrick Shields. Hide and Seek would still be hidden and
unrealized were it not for each of these individuals.

Page 3: TANYA BRODSKY, WINDOW, 2015 (DETAIL), RESIN, STEEL MOUNTS, 42 X 39 IN. COURTESY
OF THE ARTIST. PHOTO BY CHRISTOPHER ADLER.
KARA JOSLYN, TRANSMISSION (ORIGINAL), 2015, INKJET PRINTED FILM AND SYNTHETIC POLYMER
ON PANEL, 24 X 20 IN. COURTESY OF THE ARTIST. PHOTO BY KARA JOSLYN.

B. 1995 SEOUL, SOUTH KOREA

LIVES AND WORKS IN NEW
YORK CITY
CURRENT BFA CANDIDATE,
COLUMBIA UNIVERSITY

CHEEYEON
Cheeyeon works big. Not that all her
paintings are large in size, no they
are thick and heavy; swathes of acrylic
are applied in layers among mixed
media such as papier-mch, dirt,
tape, pastel and charcoal to engulf
the viewer. But even her smallest (20
x 20) work does this, as does her
largest (48 x 48) work. Regardless of
size, all of Cheeyeons works are big.
Big in their content, big in their impact,
big in their presence.
[When I paint], its a balance between
the conscious and the subconscious.
I make conscious decisions where I
want to place my brush, where I want
to paint, but when I do paint, its largely
subconscious.
Erased Fingerpainting seems to be a
good starting point, set apart from her
other works. Here, color is momentarily
stripped away or rather, covered up
to make way for coats of white. Even
so, the acrylic is applied haphazardly
with sections left uncovered, as if she
was deliberating this change to a slightly
cleaner palette. Erased Fingerpainting

seems to be an in-between work: it

lacks the heavy abstractions of her
earlier work, but still embraces an
uneven abrasiveness. White, but not
quite pure. Minimal, but not quite hardedge. The artists hand remains.
Currently, Cheeyeon is most interested
in exploring the relationships humans
have with nature; or more specifically,
how humans take advantage of nature.
Humans transform nature for their
own purposes; through man-made
processes, people use nature for it to
be a part of human life, even though
humans really originated from nature.
Its a paradox.
Through this idea, Cheeyeon came to
paint Horoscope, where branches and
twigs have been glued directly to the
canvas, splaying out at the corners of
the painting. Theres a visual tactility to
the painting; instead of representing
nature through images seen, Cheeyeon
has given it to us through textures felt
theres a granular, crumbled quality
in the acrylic thanks to the dirt added;

a contrast where the paint is applied as

opposed to soaked in.
Still, however, Horoscope is a painting,
an artwork confined to 4 feet by 3 feet
of primed canvas. Though it makes
a statement on humans and nature,
though it incorporates living elements
into its composition, the painting has
still been made by someone, created
to hang as art on a wall. Perhaps, then,
it is this circular relationship between
people and nature that Cheeyeon
wishes to examine. A relationship in
which humans seem dominant at first
using nature in art, transforming
rural areas through urbanization but
are promptly reminded otherwise by
natures presence and everywhereness
in all things, from the canvas frame to
the acrylic paint.
And so Cheeyeon is constantly
thinking, questioning, creating
whether it be with new mediums or
in new forms. Shes making art that
always seems to escape what art is,
over and over again her very own
circular relationship.

CLOCKWISE FROM TOP: CHEEYEON, HOROSCOPE, 2012 (DETAIL),

ACRYLIC, TWIG, BARK, DIRT, TAPE ON CANVAS, 48 X 36 IN. COURTESY
OF THE ARTIST. PHOTO BY GRACE BRUTON. / CHEEYEON, NEIGHBORS
FROM CLOSED WINDOW, 2013 (DETAIL), ACRYLIC, CARDBOARD, WIRE,
STRING, STAPLE ON CANVAS, 20 X 20 IN. COURTESY OF THE ARTIST.
PHOTO BY GRACE BRUTON. / CHEEYEON, LANDSLIDE, 2015 (DETAIL),
ACRYLIC, PASTEL ON CANVAS, 24 X 36 IN. COURTESY OF THE ARTIST.
PHOTO BY GRACE BRUTON. / CHEEYEON, TAPESTRY, 2014 (DETAIL),
ACRYLIC, PAPER ON CANVAS, 24 X 30 IN. COURTESY OF THE ARTIST.
PHOTO BY GRACE BRUTON. / CHEEYEON, KITE, 2013, PAPIER-MCH,
STRING, ACRYLIC, CHARCOAL ON WOOD, 21 X 39 IN. COURTESY OF
THE ARTIST. PHOTO BY GRACE BRUTON.

B. 1982 KIEV, UKRAINE

LIVES AND WORKS IN SAN DIEGO
CURRENT MFA CANDIDATE, UNIVERSITY OF
CALIFORNIA, SAN DIEGO

TANYA
BRODSKY

Left: TANYA BRODSKY, SURROGATE OBJECTS (CANS), 2014

(DETAIL), WAX, SUGAR, TOBACCO, POPPY SEED, ALUMINUM,
DIMENSIONS VARIABLE. COURTESY OF THE ARTIST. PHOTO BY
TANYA BRODSKY.
Top: TANYA BRODSKY, UNTITLED (CLIPS), 2013 (DETAIL),
HAIRCLIPS, WOOD, PAINT, 24 X 18 IN. COURTESY OF THE
ARTIST. PHOTO BY TANYA BRODSKY.
Opposite: TANYA BRODSKY, PILLAR, 2015 (DETAIL), CONCRETE,
RESIN, ELECTRIC LIGHT, 59 X 10 IN. COURTESY OF THE ARTIST.
PHOTO BY CHRISTOPHER ADLER.

Its hard to just stop thinking

about Tanya Brodskys art. Theres
always another question, another
observation, another detail that
references something or another
and so far its only kept her work ever
the more engaging.
Pillar, as it stands, hums. Its sleek,
modern, minimalist. Theres a slight
marbling in the concrete shell, and
the resin at its core sits somewhere
between a teal and a turquoise. The
thousands of trapped air bubbles
assume a crystalline appearance,
frozen into drips of white webbing. But
thats not all.
Pillar, along with Window, was
created for a show at VACANCY,
an exhibition space in Los Angeles
thatd previously been a hotel lobby
in the 1950s. Brodsky saw lobbies as
places where people met and events
unfolded, where essentially anything
could happen. Its part of a larger
idea that shes examining, in which a
charged space or object completely
influences or affects someones

thinking or actions. The form at the

top of Pillar is actually an ashtray, an
object people smoking cigarettes
naturally gather around.
I have this fixation with ashtrays and
water coolers, spaces where youre
supposed to stand next to something.
Spaces where you stand not
necessarily because you know or like
the other person, spaces that control
how long you stay until you finish
smoking, or until you finish drinking.
So its wryly fitting that any and
all works of art, then, are innately
charged. Pillar represents an ashtray,
but as a sculpture and an art piece,
its another jumping off point for
interactions, conversations, thoughts,
actions. People gather around this
object to talk about it. Brodskys
striving to reference a charged object
with Pillar, but maybe in the process
shes just created another one.
At the time Surrogate Objects: Cans
was made, Brodsky was casting
various other items out of wax. She

had to create a double boiler to melt

the wax, and when she ran out of
containers to store it, she turned to
some leftover beer cans. Brodsky
found that the inside of the can,
before the tab had been pulled, was
itself an interesting mold, an imprint
that is normally hidden from view.
I didnt want to make a representation
of something, so I guess I see casting
as creating an imprint of a thing, and
re-making it as a surrogate object. Its
a stand-in, its not usable, its a new
thing that is made from the impression
of the original. The new thing doesnt
have a function.
In taking away the objects action,
or use, Brodsky feels that the piece
becomes sculptural. That theres
a beauty in form, in shape, in
composition that is revealed once the
easy understanding of an object is lost.
A different way of looking becomes
apparent, the artistic properties start
to emerge. Theres a departure from
representation, from literal meaning
a sort of abstraction occurs.

Jaime Derringer is an experimentalist. Her forms are

steady and straight, but free-formed. The patterns
are fast and unplanned, and her use of fluorescent
colors makes the work pop and seem lighter.
Shes an abstract painter, but its hard to nail down
what kind, exactly. Not strict hard-edge, but not
exactly all-out AbEx. Shes halfway in between
her perfect lines and shapes stack and overlap,
but are covered in shades of pastel and swathes
of paint, too. Shes humanized these shapes, freed
them, made something characteristically rigid unrigid. Think of it as organic geometry.
Derringer often finds inspiration in her 3--year-old
daughters unplanned, unquestioned art-making.
She says sometimes theres a playful quality in her
own art as a result in both her style and choices
of medium marker, pastel, spray paint the list
goes on. Theres a motion, an action to Derringers
art. Sometimes shell create two separate works
and use one as a brush of sorts, dragging it over
the other to see whats transferred from the friction.
I think my mediums lend themselves to creating
art that might express a more childlike quality. I feel
like anything thats ever been made by the Crayola
company somehow has this stigma of being
unprofessional or unsophisticated and I think thats
really unfair.

B. 1978 CHERRY HILL, NEW JERSEY

LIVES AND WORKS IN SAN DIEGO
FOUNDER + EXECUTIVE EDITOR, DESIGN MILK

10

JAIME
DERRINGER

Derringers works on paper seem like contained

explosions of color. In one, theres a hidden window of
blue acrylic that peeks out from behind a haze of black
spray paint. The cutoff is sharp, neat; its as if a slice
of black was lifted off to reveal the acrylic underneath.
In another, shes made the three-dimensional 2-D, with
pen-drawn chains that link together and rough strips of
pink and black that weave under one part of the chain
and over the other.
I like the dialogue between hard edges and soft edges
coming together I feel like were missing that sense
of nature in geometric art. Sometimes, I also incorporate
drops of paint and abstract natural, organic shapes to
work the geometry around a spatial plane.
With Untitled, Derringer has no regard for the rules.
She doesnt just stick to only acrylic on canvas no,
instead, shes used pastel straight on the surface; you
can see the texture of the canvas through the wax and
pigment. In the corners, Derringers woven yarn directly
into the piece, adding a sense of objectness to the
work. Theres a meditative, calming effect in her lines
and grids until a streak of pastel or acrylic interrupts
it, separating colors and patterns, clashing order and
spontaneity.
With Derringer, painting becomes craft. Shes fast,
lighthearted, but theres absolutely nothing wrong
with that. Abstract art doesnt necessarily have to be
brooding who says it cant be fun?

CLOCKWISE FROM TOP: JAIME DERRINGER, UNTITLED, 2014

(DETAIL), MIXED MEDIA ON CANVAS, 24 X 24 IN. COURTESY OF THE
ARTIST. PHOTO BY GRACE BRUTON. / JAIME DERRINGER, 1408192, 2014 (DETAIL), MIXED MEDIA ON PAPER, 14 X 17 IN. COURTESY
OF THE ARTIST. PHOTO BY GRACE BRUTON. / JAIME DERRINGER,
140706-1, 2014 (DETAIL), ACRYLIC, SPRAY PAINT, PENCIL, MARKER
ON PAPER, 11.5 X 16.25 IN. COURTESY OF THE ARTIST. PHOTO
BY GRACE BRUTON. / JAIME DERRINGER, UNTITLED 1E, 2015,
ACRYLIC ON PAPER, 9 X 12 IN. COURTESY OF THE ARTIST.
PHOTO BY GRACE BRUTON. / JAIME DERRINGER, UNTITLED, 2014
(DETAIL), ACRYLIC, GOUACHE, PENCIL, MARKER ON PAPER, 14 X
17 IN. COURTESY OF THE ARTIST. PHOTO BY GRACE BRUTON.

11

AUDREY
HOPE
B. 1986 SANTA CRUZ, CALIFORNIA
LIVES AND WORKS IN SAN DIEGO
CURRENT MFA CANDIDATE, UNIVERSITY OF CALIFORNIA, SAN DIEGO

Audrey Hope is a sculptor for now but not in the traditional

sense at the very least. Her works have a fragile quality to them
and are loaded with things found in her everyday life. Glistening
gold glitter is offset by coats of dirt and moss. Feathers and
lambskin confront confetti and metal wire. The pieces dont
seem to be explicitly fabricated by hand; rather, they seem to be
products of nature, able to be camouflaged, to go unnoticed if
left in a natural setting.
I think that kind of abandoned quality, that quality of something
that might be seen in nature and doesnt need us to exist is
inspiring, and I want to create that in the work Im producing.

12

Hope encourages viewers to pick up her works,

to handle them, to examine them and understand
where they may come from that is, if the viewer
can muster up the courage to touch. Her pieces are
beautiful lustrous, inviting but also repulsive
filthy, coarse at the same time. Were stuck
with a dilemma if we touch, will the residue flake
off onto our hands? Will the piece break, or even
fall apart because it is so fragile? Hope knows this
dilemma well and wants the viewer to entertain such
possibilities.

In her work, plastic pearls and fake jewels give a very specific overtone,
one of exaggerated glamour, of gaudy dress-up. But Hope isnt trying to
pass off fake pearls as real, or trick the viewer into thinking her sculpture
has precious gems attached; rather, shes representing the material itself
and asking what kind of impression these trinkets of fake, pretend value
may give.
In Sad Bag (Pillow), the jewels grimy appearance makes one think of seedy
neighborhoods; their sheer, glassy quality is already kitschy to begin with,
but when put next to seashells, melted plastic quarters and scraps of gum
wrapper its clear that all these shiny, attractive items can be repulsive when
viewed up close, or vice versa.

Top: AUDREY HOPE, SAD BAG (BABY), 2014,

FIBERGLASS SCREEN, WAX, FUR, HOT MELT ADHESIVE,
6 IN. DIAMETER. COURTESY OF THE ARTIST. PHOTO BY
GRACE BRUTON
Bottom Left: AUDREY HOPE, UNTITLED (PANEL 17),
2014 (DETAIL), KARAKUL FUR, PLASTER, WAX, SNAKE,
ACRYLIC ON FOUND C-PRINT MOUNTED ON MASONITE
PANEL, 12 X 12 IN. COURTESY OF THE ARTIST. PHOTO
BY GRACE BRUTON.
Bottom Right: AUDREY HOPE, SAD BAG (PILLOW), 2014,
PENDLETON WOOL, WAX, CASTING PELLETS, THREAD,
AEROSOL PAINT, NOTIONS, GLUE, 13 X 16 X 4 IN.
COURTESY OF THE ARTIST. PHOTO BY GRACE BRUTON.

Its a way of dealing with material culture in the first place in walking
through the world, theres an experience of consumerism in which you
desire things and have to deal with that desire because were surrounded
by so much stuff and so much junk. I think that this process is an analog
to that, and it also condenses all those experiences into one seeing this
object you want to touch, but knowing theres a certain danger in touching
it that it might get on you or it will give you an uncomfortable feeling in
your stomach when you get too close to it.
Hopes closeness to material can be off-putting to viewers, and the stuff in
her work can often refer back to itself until it seems theres no boundary to
the edge of the artwork. Just as the black wax in her pieces is sourced from
melting marking crayons and Plasti Dip materials that were once tools
Hopes work becomes a tool in and of itself, a source for experiencing
the world and thinking about relationships between people and objects,
between materials and their connotations, between humans and nature.

13

B. SAN DIEGO
LIVES AND WORKS IN SAN DIEGO AND LOS ANGELES
CURRENT MFA CANDIDATE, UNIVERSITY OF CALIFORNIA,
SAN DIEGO

KARA
JOSLYN

Last year, Kara Joslyn riffed off the idea of Dutch still-life paintings by embedding
reflection holograms into actual tables; the result was an unstill still-life, an image that
would always shift or change depending on where the viewer was standing. Since then,
shes only become more witty, more wry and more clever with her art.
In her Transmission series, Joslyn began by scanning sheets of lenticular lenses or
at least trying to. The ridged, reflective surfaces of the lenses made it near-impossible;
light would bounce off, refract and diffract the minute the lamp shined under the sheets.
I definitely didnt know what would happen, but I liked the idea that [the scan] would
come out different every time. Even if I had the same set up with the scanner, because
of how the light reflected, it was never going to be the same thing. For me, its this idea
of being very painterly with the photographic process.
Next, Joslyn color-matched the scanned image with acrylic, printed it on vellum and
pressed it over the wet paint until the excess puddled out the side and solidified. On
top, she painted and airbrushed over the vellum. If it sounds confusing, thats because
it is. And thats what she intends, too. You cant tell exactly what the work is a
painting, a print, a painting of a print? Theres a trompe loeil effect as you try to identify
and separate the layers. You try to process the process, but you cant quite. Lost in
translation. Or transmission.
Untitled (Black Mirror) draws attention to its slickness. Theres a slight gradient, a slight
shift in colors across the surface, and it looks almost produced, not painted. The artists
hand has been removed; at least, thats what it seems like. Joslyn says the painting
resembles a reflective surface thats also a void existing simultaneously.

I have this inclination to mess with things. Its a little bit of this rebellious attitude, where
I want to make an unstill still-life, a painting thats not going to be a painting. Its like, Im
going to make a photographic print, but Im not going to make a photographic print, Im
going to make it into a painting thats the goopiest painting Ive ever made.
At the time of writing, Joslyn was working on a large, five feet by six feet painting that
she said would be ready by the time the show opened. I had no idea what it would
look like. But its that element of surprise, I suppose. An unstill still-life. An unscannable
scan. An unanticipatable art.

14

Opposite: KARA JOSLYN, DER KNOPF, 2014, SYNTHETIC POLYMER

ON PANEL, 24 X 20 IN. COURTESY OF THE ARTIST. PHOTO BY AVA
PORTER.

Patrick Shields rsum says hes officially trained as an architect, but looking at his work now, you might
consider him an artist. For Shields, theres no difference, no distinction. He doesnt think there was a transition
from architect to artist, nor does he find assigning names or titles particularly helpful. Shields simply focuses on
making. On shaping amorphous, uncontainable forms, on creating painstakingly precise drawings, on modeling
3-D constructions sourced from mathematical equations.
I mean, Im also trained as a graphic designer, and I also got trained on a farm. It doesnt really matter. Making is
making is making.

In conversation, Shields brought up the story of John Henry, an African-American steel driver for the Chesapeake
and Ohio Railway tasked with repeatedly hammering a steel drill into rock to make holes for explosives. To test
his strength and endurance, Henry challenged a steam-powered hammer to see if he could drill farther than the
hammer. Henry drilled and drilled, and after 35 minutes, finally beat out the machine by six feet and collapsed
and died of a stroke from the exhaustion immediately thereafter. For Shields, that story is about means and ends.
To what end do humans use, rely on and sometimes serve technology?
Machines, Shields thinks, are extremely predictable. Sure, theyll get smarter, faster, easier to use and there will
be more of them. People will continue trying to further the machine, to make more sense of new technology, but
to Shields, everything already makes sense. Machines are just going to get better. But theres a caveat.
If [the machines] not tethered to some sort of humanistic production, if its not tied into the hand, if its not tied
into tactility, if its not tied back to mistakes and irrationality and quirks and idiosyncrasies then its already set
in motion, its already pre-determined, its already game over and its already boring.

16

PATRICK
SHIELDS

B. 1978 WASHINGTON, D.C.

LIVES AND WORKS IN SAN DIEGO
CURRENT MFA CANDIDATE,
UNIVERSITY OF CALIFORNIA, SAN
DIEGO

Left: PATRICK SHIELDS, PROTOTYPE 37 (MODEL), 2014

(DETAIL), WOOD, GLUE, 12 X 12 X 8 IN. COURTESY OF THE
ARTIST. PHOTO BY GRACE BRUTON.

Middle: PATRICK SHIELDS, PROTOTYPE 37, 2015 (IN-PROCESS

SHOT), EPS FOAM, EPOXY, RESIN, KEVLAR FILAMENT,
DIMENSIONS VARIABLE. COURTESY OF THE ARTIST. PHOTO
BY GRACE BRUTON.

Shields doesnt name any of his works, preferring to call them prototypes instead. To
him, his pieces arent completed or finished when they leave the studio rather, he
believes his sculptures want to go into the world, that they desire and need a patina,
whether it be a cultural or oxidized one.

Right: PATRICK SHIELDS, PROTOTYPE 37, 2015 (3-D

RENDERING), EPS FOAM, EPOXY, RESIN, KEVLAR FILAMENT,
DIMENSIONS VARIABLE. COURTESY OF THE ARTIST.
RENDERING BY PATRICK SHIELDS.

In Prototype 37, Shields plays with ideas of the 2-D and 3-D. To create it, he took a
mathematical equation, sketched it out, re-drew it using modeling software and finally
enlisted the help of Kuka KR 60-3, a 7-axis robotic arm, to mill the final forms. Shields
wanted to figure out how to represent equations as forms, how to apply the abstract world
of mathematics, a never-ending series of numbers and variables, to physical space. The
process sounds relatively straightforward, but it wasnt. The machine was supposed to
help Shields, but it didnt. It actually slowed him down greatly. When I visited Shields
on May 24, hed been stuck in the lab for the last seven days, trying to learn Kukas
interface, its language. In trying to simplify his process by using a machine, hed actually
complicated it further.

17

KARA JOSLYN, TRANSMISSION (BLACK), 2015 (DETAIL), INKJET

PRINTED FILM AND SYNTHETIC POLYMER ON PANEL, 24 X 20 IN.
COURTESY OF THE ARTIST. PHOTO BY AVA PORTER.

Well, you and I can make up imaginary

reactions to an art object from now till dooms
day. So how do we feel? In our relativist
world we may have trouble getting to our
real reactions, or saying them out loud even
if we do.
FORREST MCGILL, GORGEOUS
POLYMORPHOUS

cover: CHEEYEON, UNRAVEL, 2015 (DETAIL),

ACRYLIC, COLORED PENCIL ON CANVAS, 48
X 48 IN. COURTESY OF THE ARTIST. PHOTO
BY GRACE BRUTON.
back: AUDREY HOPE, SNAKESKIN SPIDER,
2014 (DETAIL), POLYESTER, WIRE MESH,
AEROSOL PAINT, GLUE, 12 X 5 IN. COURTESY
OF THE ARTIST. PHOTO BY GRACE BRUTON.

Hide and Seek: Exploring the Abstract

June 27, 2015 July 19, 2015
Curated by Alex Jen
This exhibition is supported by the Woodbury University School of Architecture,
Mark Quint and Quint Gallery.
In-kind graphic design and photography support is provided by Grace Bruton.
This publication has been made possible by the generosity of Charlie Affourtit
of the Stephen Gould Corporation.

WOOD
B U R Y
S

2212 Main Street

San Diego, CA 92113