Last night’s FF travels included some very luscious pop paintings in “The Two Headed Love Show” by Lucinda Storms at the Record Archive, and a trio of artists presenting paintings and installations at Four Walls Gallery’s debut show, “Form & Substance,” at the spanking new location [ 179 Atlantic ].
Today I’ll check out more of the newly opened shows, including the Mentors & Mentors exhibit at Rochester Contemporary [ which will hold the artists’ talk on Sunday at 1 p.m. ]. I’m also excited about a near-future lunch date with Sabra Wood of Crocus Clay Works. What manner of artsy-goings-on and local charity matters will I report? Stay tuned, dear readers.
The colorful, creamily stroked, and whimsical paintings by Lucinda Storms [ aka artistic alias “Belvedere” ] make it exceedingly hard to maintain a grumpy mood. Her new show at the Record Archive presents a selection of cheeky-messaged candy hearts [ the familiar shape modified with endearing to not-so- phrases like “my nerd,” “scum bag,” and “booger” ]. Other works include human-plant hybrid girls, trippy, smokable butterflies, and some of her silhouette paintings of birds inspired by Audubon.
At Four Walls, gallery director Shawn Dunwoody enthusiastically pointed out a favorite feature: the large windows. The former gallery space in the basement of 34 Elton Street was roomy to be sure, but entirely without natural light or a way to show the art off to passers by.
Local sculptor Victor Pacheco’s “Fighter Cocks #5” is a work of cast, welded, and riveted battling bird-jets gliding over a bed of undulating, sweeping wood strips. Also in the “Form & Substance” show is his “Extraction Site,” a wall-installation of a moving oil drilling rig pumping through a bank of ice.
Francesca Lalanne’s work reflects her fascination with refining and renewing the surfaces of wood and metal, and draws parallels between the imperfections in and perpetual refinement of those materials and of the body and self. She finds stories in scars, and states that her work is often less about the object being created than the materials and language she is using.
Artist and professor Kitty Hubbard’s “Housing Projects” are inspired by her youth helping her mother fix up broken-down homes. “She has always been able to see the potential in buildings, and people,” Hubbard says. Other works in the exhibit address financial strains we feel “as individuals and as a country,” she says. The works incorporate shredded credit card bills and wax, “just barely holding the house together.” Lit from within, the former group emanates a sense of life and hope, but the darkened “discover MC visa” do not lend the same sentiment.