Text/Subtext

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“You are one of the few artists I know who really live it, without any commercial concerns – Brava.” Comment by Jennifer Moses in exhibit guest book

Susan Alport’s exhibit There for the Taking is a performance. That is, she has asked the objects which make up the installation in the gallery, and which are in relationship to each other, to act. We see the evidence of her mind, what she is drawn to, what she has decided to present here. These relationships are relative, and can only be understood in this way.

She renders an imaginary studio for us, using and referencing these elements simultaneously. She lets us in on her vision and presents the objects in high relief by placing them in the gallery setting. We see the evidence of the studio through the objects placed on a wooden table: painted bottles, photographs of the painted bottles, yellowed newspaper articles, photographic images of her studio, which in turn become objects, a collection of pottery shards in a box, postcards, notes, receipts.

The installation reads, like the blown up statement with edits and notations which one encounters as one enters the space, as a record of her thinking. It does so best when seen from a single frontal point of view, as if it were one image. Neither a still-life nor a theatrical set, it exists as a text containing a subtext, and this viewer was transposed and transported. Brava.

Alport is joined in the Center Gallery by Eugene LaRochelle’s I Love You and by Elif Soyer’s New Work in the Member’s Gallery.

The exhibits continue through November 2.

Image: Installation view of There for the Taking

Photo credit: Susan Alport

 

 

 

 

 

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