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Kim Rugg: Patterns of Landscape
Project Room: Ryan Wallace    Oct 19 - Nov 16, 2013

A Single White Lilly
Kim Rugg
A Single White Lilly, 2013
 
America
Kim Rugg
America, 2013
 
Things to Say About Dinner Guests
Kim Rugg
Things to Say About Dinner Guests, 2011
 
Untitled
Kim Rugg
Untitled, 2013
 
Redactor I
Ryan Wallace
Redactor I, 2013
 
Redactor II
Ryan Wallace
Redactor II, 2013
 
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Opening Reception: Saturday, October 19, 6-8p

Mark Moore Gallery proudly presents "Patterns of Landscape", the latest body of work by gallery artist Kim Rugg. With the precision of a surgeon, Rugg dismantles and reassembles printed objects that relay information, such as newspapers, magazines, cereal boxes, and stamps; rendering their original content meaningless. In this exhibition, Rugg embellishes upon her criticism of biased "news" dissemination by experimenting with cartography, as if scrutinizing the physical and social boundaries in which we lead our lives.

For this newest incarnation of her practice, Rugg re-envisions maps of Great Britian, North America, the United States, and the World without borders, featuring a staggeringly precise hand-drawn layout with only city names and regions as reference points. In other works, Rugg redistributes traditional map colors so as to nullify the social preeminence given to constructed territories, highlighting the idea that our attention is manipulated to focus on the powerful few instead of the physical many. Rugg also features works in her traditional newspaper vernacular; her seemingly playful rearrangement of newspapers’ individual letters, photos, and headlines subvert the authority of the messenger, and analyze how alleged facts are blindly consumed. In a manner perhaps likened to analog Photoshopping, Rugg exercises her mastery in trompe l’oeil by depicting an open magazine - in perspective – by using only pieces of the actual publication to achieve a practically surrealist effect. Through this visual ruse, Rugg critiques the media's tendency to seduce its viewership through sensation and illusion rather than verisimilitude. A consistent theme throughout all of her work, patterns within the tactics of journalists, broadcasters, historians, and reporters alike are given clarity through Rugg's purposeful distortion. At first glance, Rugg's work appears disconnected from our regular lines of communication, but upon closer inspection, her visual subterfuge astutely mimics that of the everyday propagandist.

Concurrently in the Project Room, the gallery presents "Redactor", a debut solo exhibition from newly represented interdisciplinary artist, Ryan Wallace. A departure from his celestially inspired "Tablet," "Omega Point," and "Atlas" works, Wallace's "Redactors" delve into a more intricate, anarchic psychology. Rife with splintered, fragmented, and twisted elements, Wallace's collage-based paintings demonstrate the elaborate nature of modern existence through a delicate balance of chaos and order.

From Chardin's Omega Point theory to Pollock's gestural abstraction, the influences of Wallace's interdisciplinary work span radically diverse concerns. Related primarily through existentialist core principles, the miscellany of ideas present in Wallace's work manifest the complexities of the metaphysical as well as the clarity of total consciousness. Wallace taps into the visceral nature of Suprematism while simultaneously conjuring the bodily experience of Light and Space; a marriage between the cognitive and intuitive that occupies a dimensional, non-linear space. Shredded tape, vinyl screens, wax, and other discarded studio materials converge upon a single plane as Wallace reconstitutes detritus from previous works and forges new abstractions. Through this technique, he visually articulates the most alluring notions of evolution - manipulating the physical and metaphorical layers inherent to our perception.

Wallace (b. 1977, New York) received his BFA from Rhode Island School of Design (RI). He was the 2011 recipient of the Pollock Krasner Foundation Grant, and has had solo exhibitions in Copenhagen, Los Angeles, San Francisco, and New York. He has also shown work at the Frans Masereel Center (Belgium), Torrance Art Museum (CA), Katzen Arts Center (D.C.), Yerba Buena Center for the Arts (CA), and numerous other venues around the world. His work is featured in the public collections of the U.S. Department of the Treasury (D.C.), the Museum of Modern Art (NY), the Museum of Modern Art, San Francisco (CA), and the Cleveland Clinic (OH), among others. Wallace is also represented by Morgan Lehman Gallery (New York City), Cooper Cole Gallery (Toronto), Marianne Friis Gallery (Copenhagen), and Guerrero Gallery (San Francisco). The artist lives and works in New York.

Kim Rugg received her MFA in Sculpture from the Royal College of Art (London). Her work can be seen in the permanent collections of the National Gallery of Art (D.C.) and the Frederick R. Weisman Foundation (CA), the Museum of Contemporary Art, San Diego (CA), and the Norton Museum (FL), among others. She has been included in exhibitions at the San Jose Institute of Contemporary Art (CA), Elizabeth Foundation for the Arts (NY), Galerie Schmidt Maczollek (Cologne), and Nettie Horn Gallery (Manchester), and was the recipient of the Thames and Hudson Prize from the Royal College of Art Society in 2004. She lives and works in London (UK).

For more information about the exhibition artists, or available work, please feel free to contact the gallery, and we will accommodate your needs. Additionally, you may download a complimentary digital copy of Mark Moore Gallery Statements: 24, featuring Kim Rugg, or purchase a hard copy through our newsstand on ISSUU.

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