Adriane Colburn and Kim Bennett Exhibitions

Gallery 16 is happy to announce two concurrent solo exhibitions with artists Adriane Colburn and Kim Bennett!

Everything Is Everything, Adriane Colburn's third show at the gallery, is an exhibition of new drawings and sculptures that reflect on the connections between the big and small, ethereal and weighty, atmospheric and solid.

According to Adriane, "the exhibition is part of a reckoning with the weight of the 'hyperobjects' that shape both our molecular connection and intellectual disconnection with the more-than-human world. Climate; the carbon and nitrogen cycles; the connectivity between the small gesture of the personal, the devastation of extractive industry and the greater natural world. The show is comprised of anxious artworks that stem from both the beauty and apprehension of our moment."

Large cut paper drawings, densely populated with botanical specimens, snarls of vines and intermingled grids are richly colored with ink and photographic collage elements. Buried in the intricately cut forms are a myriad of silhouettes and images including geologic specimens, the smoke from wildfires, maps, animals, oil rigs, marble from historic mansions, gold and tropical forests. The drawings are informed by the artist’s years of experience conducting field research in forests, oceans and oil fields.

That’s Us Before We Got There is our first exhibition with Kim Bennett, the titled a lyric from Arthur Russell's song "That’s Us/Wild Combination." The show will feature new drawing and embroidery works. 

"I believe that a sketch is, or at least contains, the finished thing, since time is a little bit circular. The drawings in That’s Us Before We Got There are both drafts of embroideries and ends in themselves. Also, I like to think of my embroideries — the 'finished product' — as beginnings," Kim writes.

"What I really resent are plans that dictate what you have to do next. You’re always feeling like you’re not living up to the plan, to the structure provided. Drawing my grids as I go along, feeling for the next shape as I go, is my way out of this. By drawing the grid itself as well as the elements that play on it, I can make the plan and the action at once. I want to prove how well things can be patched together, smoothed over, worked out minute by minute—a way to get back at time."