Addition Over Subtraction
April 29, 2016 - September 9,2016
Addition Over Subtraction confronts the reality of climate change in our developing world. As humans create permanent changes in the natural environment to provide ourselves with the raw materials we rely on, complex and far-reaching repercussions of these altercations become increasingly apparent. These long-lasting changes may provide us useful materials, but the consequences are profound. Mining, loss of green space, and our reliance on fossil fuels are interwoven with shrinking polar ice and shifting weather patterns being witnessed globally. A topic of controversy, climate change is rarely highlighted in the conservative atmosphere of the South. However, the problem is affecting the Atlantic shore as well as an increased threat of permanent flooding to coastal communities. Addition Over Subtraction features artists whose work explores the relationship between human-wrought change and a rapidly-changing globe. From leaking oil pipes to cast frozen mountains, these artists provide a sense of majesty in our world, revealing the beauty we could lose and the processes that lead us astray.
Deighton Abrams utilizes illustrative and gestural techniques to set up dialogues about humanity and its tenuous connection to the surrounding environment. Upon these black ink formations, he harshly scrawls letters and words of disbelief, perhaps incapable of accepting a world without these frozen wonderlands.
Tony Craddock’s documentary landscape photography examines the mysterious practice of cloud seeding. This form of weather modification was developed in the late 1940’s but is still under investigation for its efficacy as well as the potential negative impacts on global weather patterns.
Carly Drew uses watercolors, graphite, and acrylic to layer transparencies of the manmade and nature, revealing what is underneath the ground we walk on. In her drawings, grand networks of pipelines and landlines tangle with roots and grasses indigenous to the South East.
Abstracting into bodily tubes, Kathleen Thum highlights the infrastructure of drilling and the petroleum industry. Maxes of cylindrical forms twist together to reference the movement of industrialization and the bodies that develop it.