No Boundaries

July 21 - August 23 1998

Mary Sherman
Sunghoon Yang
Victoria Hanks
Malvina Sammarone
Rolando Barahona
Paula Stuttman
Theodore Cantrell

In 1986, six Chicago artists, calling themselves TransCultural Exchange, organized an exchange of their work with a group of artists in Vienna. In Chicago an exhibition of over one hundred objects by Chicago and Viennese artists was shown at the historic Ludwig Drum Factory, and a series of literary readings, films and videos took place at Facets Multimedia Centre. The shows then traveled to Vienna's WUK Kunsthalle.

In the spirit of that artist-run venture, Mary Sherman, one of the founding members of TransCultural Exchange, with the assistance of independent curator Denise McColgan, has organized "No Boundaries" at the TransHudson Gallery. The show consists of works by an international group of seven artists known to each other through affiliation with New York University's Graduate Program in Fine Arts. It inaugurates what the group hopes will be the first in a series of exchange exhibitions among their respective countries - South Korea, United States, Costa Rica and Brazil.

The title "No Boundaries" refers not only to overcoming geographical boundaries by exhibiting a global roster of artists; it also alludes to the artists' common endeavor to overcome the traditional artistic boundaries of painting, drawing and sculpture in their idiosyncratic use of various media. Thus, Mary Sherman's works transform the built-up ground of painting into the constructive elements of sculpture, and Malvina Sammarone's intimate wall-hung surfaces replace the application of paint canvas with the protrusion of nails through stretched latex. Victoria Hanks' wall compositions depart from the traditional rectangular format of both drawing and painting by evolving freely from biomorphic abstract shapes cut from oil-stick coated paper; while Sunghoon Yang also departs from two dimensional art's traditional rectangularity in his oval shapes of color which he sets into six-part arrangements. The basic ground of painting, the unprimed canvas, is used by Theo Cantrell in a unique, unorthodox manner. He employs it in a distressed, stained state as a medium in itself suggesting a type of soft relief sculpture which heaves and bunches at intervals into cocoon-like shapes which house organic material such as sticks of wood. The traditional boundaries of the two- and three- dimensional are merged in Rolando Barahona's extended compositions which connect photographs of body parts with sculptural material such as wire mesh and rope, and found organic forms such as leaves and rocks, to create imagery which suggests the corporeal as a metaphor for the psychological. Finally Paula Stuttman's boxed "kits" extend the boundaries of sculpture as begun by Duchamp and the Surrealists and continued by Lucas Samaras; here collections of objects, hand-made and hand-modified, addressing themes such as the American flag and baseball, are carefully assembled into cardboard containers that seem to suggest the obsessive-compulsive parameters and fascination of both games and collecting.

-Written by Denise McColgan



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