Again Again
       
     
  Again Again  is the first installment of a two-part exhibition focused on subtle, persistent revolt. Through the implementation of pale, muted, and pastel colors the artists reference the mundane aesthetic commonly associated with necktie collections, tupperware parties, office climate or holiday decorations. These interdisciplinary works feel familiar and reveal an underhanded, yet delightful rebellion upon continued investigation. By splitting the exhibition into two parts, curators Corey Oberlander and Lindsey Stapleton are able to explore two separate manifestations: the mental and the physical rejection of domestic urbanity.  A two-person exhibition with Ross Normandin and Clark Mclean Graham,  Again Again  focuses on the mental and subconscious day-to-day dissatisfaction. Moving through personal achievement, memory and experience, the work will be hung tightly together, forcing the viewer to experiences the full collections oF work at once, or not at all. Pleasing but uncomfortable, the works here will not allow the viewer to feel complacent, and instead illicit surprising emotions despite muted pastel colors and soft installation techniques.  High and low chroma; side-by-side and vis-à-vis, the installation of  Again Again  will focus on a repetition, subtle deviation and persistent effort. In dialogue independently and cohesively, both artists reject the fully mundane - choosing instead to highlight and examine tiny moments of common experience, failure and triumph.
       
     
Ross Normandin
       
     
CLARK MCLEAN GRAHAM
       
     
       
     
Ross2.jpg
       
     
9-19-2015+3-12-28+PM.jpg
       
     
ROSS NORMANDIN
       
     
Again Again
       
     
Again Again

CLARK MCLEAN GRAHAM & ROSS NORMANDIN
November 19th - December 19th

Curated by Corey Oberlander and Lindsey Stapleton

  Again Again  is the first installment of a two-part exhibition focused on subtle, persistent revolt. Through the implementation of pale, muted, and pastel colors the artists reference the mundane aesthetic commonly associated with necktie collections, tupperware parties, office climate or holiday decorations. These interdisciplinary works feel familiar and reveal an underhanded, yet delightful rebellion upon continued investigation. By splitting the exhibition into two parts, curators Corey Oberlander and Lindsey Stapleton are able to explore two separate manifestations: the mental and the physical rejection of domestic urbanity.  A two-person exhibition with Ross Normandin and Clark Mclean Graham,  Again Again  focuses on the mental and subconscious day-to-day dissatisfaction. Moving through personal achievement, memory and experience, the work will be hung tightly together, forcing the viewer to experiences the full collections oF work at once, or not at all. Pleasing but uncomfortable, the works here will not allow the viewer to feel complacent, and instead illicit surprising emotions despite muted pastel colors and soft installation techniques.  High and low chroma; side-by-side and vis-à-vis, the installation of  Again Again  will focus on a repetition, subtle deviation and persistent effort. In dialogue independently and cohesively, both artists reject the fully mundane - choosing instead to highlight and examine tiny moments of common experience, failure and triumph.
       
     

Again Again is the first installment of a two-part exhibition focused on subtle, persistent revolt. Through the implementation of pale, muted, and pastel colors the artists reference the mundane aesthetic commonly associated with necktie collections, tupperware parties, office climate or holiday decorations. These interdisciplinary works feel familiar and reveal an underhanded, yet delightful rebellion upon continued investigation. By splitting the exhibition into two parts, curators Corey Oberlander and Lindsey Stapleton are able to explore two separate manifestations: the mental and the physical rejection of domestic urbanity.

A two-person exhibition with Ross Normandin and Clark Mclean Graham, Again Again focuses on the mental and subconscious day-to-day dissatisfaction. Moving through personal achievement, memory and experience, the work will be hung tightly together, forcing the viewer to experiences the full collections oF work at once, or not at all. Pleasing but uncomfortable, the works here will not allow the viewer to feel complacent, and instead illicit surprising emotions despite muted pastel colors and soft installation techniques.

High and low chroma; side-by-side and vis-à-vis, the installation of Again Again will focus on a repetition, subtle deviation and persistent effort. In dialogue independently and cohesively, both artists reject the fully mundane - choosing instead to highlight and examine tiny moments of common experience, failure and triumph.

Ross Normandin
       
     
Ross Normandin

The July Paintings were made throughout the month of October. They are exact in length, width and depth with varying appendages. They consume the hue of the wall that supports them. A roll cage sits opposite from the July paintings. Cage is a series of metal bars designed to be installed in a vehicle as a safety mechanism; often times for auto racing. This is a background.

Internal and external; purging, laughing, praying; this pairing of new works is one of relationships. As much in opposition as they are in concert, the inherent material qualities lead towards states of levity and weight. Silicone knots embedded in translucent glass and a vacant welded skeleton share unspoken narratives. Free of skin and shell. July repeats. Cage is inert.

One foreground, short holidays, and the dog chases it's tail. It's built to win and built to crash.

rossnormandin.com

CLARK MCLEAN GRAHAM
       
     
CLARK MCLEAN GRAHAM

Graham works primarily as a collagist, fabricating physical and digital montages in an attempt to create modern day relics with nods to American pop culture and consumerism. Mclean Graham’s visceral photo-collages on handmade paper also inform his sculptural and video work. He attempts to create fixtures in the context of memory out of objects such as plastic toys by coating them in preserving wax, and he employs film as a medium to best represent a direct recreation of memory and thought.

clarkmcleangraham.com

       
     
Ross2.jpg
       
     
9-19-2015+3-12-28+PM.jpg
       
     
ROSS NORMANDIN
       
     
ROSS NORMANDIN

Cage
2015
Steel
40 × 60 × 45 in