Paintings Explore Factory Farming and Human Implications
Tempus Projects, Tampa
September 30 – November 3, 2017
Tampa nonprofit gallery and organization, Tempus Projects is pleased to present Dysgeusia, a solo exhibition of paintings by artist Ashley Gillam. Slated to premiere to an opening reception on Saturday, September 30 from 7 p.m. to 9 p.m. and run through Friday, November 3. Dygeusia is the first solo exhibition of Gillam’s work.
Dysgeusia takes its name from a term referring to an alteration or distortion in one’s sense of taste. Appropriately, the exhibition is a series of meditations on sacrifice and the interactions between living beings, humans and animals, vis-à-vis the food industry and factory farming. By way of placing a semi-anonymous human figure in the place of animals enduring the horrors of factory farming, Gillam’s paintings simultaneously implicate the audience while urging empathy. Indeed, the paintings suggest a direct and real relationship between the victim and the viewer, finding an almost spiritual as well as physical, even biological analog between humans and animals.
Based in Tampa, Florida, Ashley Gillam primarily works in painting.
She received her Bachelor of Fine Arts degree from the University of South Florida in 2017.
Opening reception: Saturday, September 30, 7-9PM
4636 N Florida Ave, Tampa, FL 33603
ARTdart: There are as many ways to think about art as there are to create it. Join Pamela Beck in her new column, ARTdart, as she explores and considers the different perspectives that define the art world.
~ I promise to stop finding fault with the Chalk Festival and being such a killjoy.
~ I’ll stop using post cards of the Sarasota sculpture “Unconditional Surrender” over which I’ve scribbled, Not in my Backyard, as my personal stationary.
~ I will go to art shows in St. Pete and Tampa and stop blaming my laziness on the long drive, the heat, my poor sense of direction or being a one car family.
~ I will join a gym to get myself in walking shape for Art Basel Miami Beach 2013 so I don’t expect to rely on their promised, yet nonexistent working shuttles and available taxis.
~ I will never again use my cell phone while I “contemplate light, perception and experience” in James Turrell’s Skyspace, “Jacob’s Coat”, at the Ringling Museum. (Or at least I’ll change my ring tone from “She’s a Brick House.”)
~ I’ll finally sign up for the art class I’ve always wanted to take rather than pretend my time is better spent studying “The Complete Idiot’s Guide to Quickbooks.”
~ I’ll stop sending medical school catalogues to my undergrad son who wants to become a potter.
These are not grand existential statements. As people may have once been anxious over soul and salvation, today are likewise of car accidents, peanut allergies, smile lines and crow’s feet …
These are not grand existential statements. As people may have once been anxious over soul and salvation, today are likewise of car accidents, peanut allergies, smile lines and crow’s feet – a helpless body. Fittingly, the sculptures of Roger Chamieh’s current solo exhibit nearly appear to sag and be pinched, to wheeze and groan.
Despite their imposing size (only four pieces fit inside the Tempus Projects’ gallery) certain fragility colors each piece. For example, the show’s centerpiece projects this idea directly in its title, Broken. The sculpture, using a dining table as a departure point, lies slumped over on one end. The table is missing two of its legs as if it’s a double amputee propping itself up. A giant phonograph horn-like funnel penetrates the table. An antique speaker at its base under the table produces what Chamieh’s website describes as “layered guttural and thoracic sounds”. Indeed, the sculpture sounds as if it’s groaning from the metallic pit deep in its throat.
A theme that appears in two of the exhibit’s sculptures is breathing or rather, difficulty breathing. One piece’s title, Anoxia, refers to an extreme depletion of oxygen. The other, Daddy’s Girl, similarly makes use of a gas mask installed on the gallery wall. Rather than some sort of filter, though, the mask is fitted with a set of chrome lungs. Inside the mask, where the eyes would be, plays a single channel video similar to a home movie. The piece, perhaps, betrays a parental anxiety, a fear of the multifarious threats to one’s child.
Really, the entire exhibit does not seem to investigate some grand (and pretentious) existential view of death. Rather, the gallery is filled with a lingering near paranoic fear of dying peculiar to modern life. This isn’t a primal fear of survival, but one of a 5-ounce bottle of liquid on a plane or the newest carcinogen. Chamieh’s sculptures struggle for breath as if hyperventilating, suffocating under a crushing anxiey. Apophenia, the title of the exhibit, is the tendency to find meaning in patterns in which they do not exist. Much like a hypocondriac building pestilence from trivialities, or even an art critic finding meaning in an art exhibit.
October 19 – November 9, 2012
Tempus Projects, Tampa FL
This exhibit marks the first showing by the Tampa photography collective. The goal of the collective is to be a support system for each member’s individual art practice, while serving as a relaxed place to fellowship with peers. The group also strives to engage the local creative community through exhibitions and talks.
October 19 – November 9, 2012
Tempus Projects, Tampa FL
Exhibition by the Tampa Photography Collective
Tampa- Opening reception Friday, October 19, 2012 from 7-10pm :: Between Earth and Sky is the first exhibition by the Tampa Photography Collective comprised of Wendy Babcox, Jeremy Chandler, Adam Ekberg, Becky Flanders, Noelle Mason, Forrest MacDonald, Chris Otten, Kym O’Donnell and James Reiman. For the past year, the group has gathered monthly at the Tempus Projects space to share and discuss new work. The goal of the collective is to be a support system for each member’s individual art practice, while serving as a relaxed place to fellowship with peers. The group also strives to engage the local creative community through exhibitions and talks.
This exhibition remains on display throughout November 9, with gallery hours available by appointment. Contact Tracy Midulla Reller at firstname.lastname@example.org to schedule or call 813.340.9056. Tempus Projects is located at 5132 N. Florida Ave. Tampa FL 33603
TEMPUS PROJECTS, winner of Creative Loafing’s 2012 Best of the Bay award for Best Art Gallery, is an artist-run project space, housed in a converted garage on the back lot of a commercial property, in the South Seminole Heights neighborhood of Tampa, Florida. TEMPUS PROJECTS is dedicated to nurturing both established and emerging local, national and international artists via exhibitions and events. The project promotes artists working in all media and organizes exhibitions that engage the local community through the visual arts. Tempus is also available for private meeting, events and parties. Learn more at www.tempus-projects.com
September 14 – October 5, 2012
Tempus Projects, Tampa, Florida
TEMPUS PROJECTS is proud to present “[REDUCED5]”, a multi-media juried art exhibition that will serve as the kick-off event for the Fall 2012 season at TEMPUS PROJECTS. This exhibition is scheduled to open on Friday September 14, 2012 from 7:30 PM to 10 PM. TEMPUS PROJECTS would like to thank Kurt Piazza, for acting as the guest juror for this exhibition. REDUCED was first curated by Piazza while he was with The Gulf Coast Museum of Art in December 2005. This is the 5th incarnation of REDUCED.
[REDUCED5] features primarily black and white works priced at or under $500. Exhibiting artists include George Anderton, Jessica Barber, Ariel Baron-Robbins, John David Allen, Leslie Elsasser, Becky Flanders, Vince Kral, Gigi Lage, Amara Manickchand, Justin Myers, Eli Neugeboren, Taylor Pilote, Elizabeth Plakidas, Ryann Slauson, Daniel Veintimilla & Julie Weitz.