Justin Colt Beckman and Gail Tremblay
Opening, Friday, March 10th 6-8pm
The basis of this exhibition will focus on the anachronistic introduction of present-day ideas and perspectives into depictions or interpretations of the past.
Based around an investigation of the unique characteristics of small-town life, Justin Colt Beckman’s work explores and presents ideas surrounding the urban/rural dichotomy and its associated stereotypes. Essentially a city boy with country boy tendencies, he uses photo-based works, film/video, sculpture, installation, and new-media to engage in rural activities vicariously through his art-making.
Beckman received a BFA from Art Center College of design in 1998 and an MFA in sculpture from Central Washington University in 2008. He enjoys a town-and-country lifestyle with a studio in the small, unincorporated town of Thorp, WA and a home in nearby Ellensburg with his wife Monica and their son Porter, and is also a founding member of PUNCH Gallery, an artist-run space in the Pioneer Square area of Seattle.
Beckman has exhibited work both locally and nationally including Art Share in Los Angeles, CA; The Museum of Art in Ft. Lauderdale, FL; G.A.S.P. in Boston, MA; Tacoma Art Museum’s 8th Northwest Biennial; The Frye Art Museum, Seattle, WA; Delaware Center for the Contemporary Arts; and a solo exhibition at 3rd Ward in Brooklyn, NY.
Utilizing recycled film from broken down 35mm trailers, old 16mm films being thrown out by libraries as well as old student films, Gail Tremblay uses traditional weaving methods to create film baskets instead of the traditional material of ash splint and sweet grass. Tremblay is of Iroquois and Micmac descent and learned the traditional weaving methods as a young girl. As a professor at Evergreen State College she began using out-takes from student films to create the baskets. Tremblay found using the recycled film allowed her to manipulate a medium that has historically been used by filmmakers to create and further stereotypes of American Indians. She has added to this irony by choosing footage from titles that suit the artists themes as well as weaving stitches that support subject of the piece. For example, in “Somethings Are More Serious Than Play” the artist uses pieces from a documentary film about Montana Indian Children as well as a Porcupine stitch to underscore the prickly nature of Indian—white relations.
1715 Wazee St.
Denver, CO 80202