Carolyn Brown has photographed the world but her upcoming exhibition is entirely focused on Fort Worth, Texas. Brown was offered the chance to document the long-abandoned buildings formerly owned by Swift and Company, a meatpacking giant that dwindled and eventually closed in 1971. Following the trend of other unused urban storehouses, these are slated to undergo renovation to provide residences and office space. Brown’s show, entitled “The Painted Tombs of Swift,” is a meditation on the interim between a finished past and an unfurled future. The building shells are laced with graffiti. Broken windows seep with plant life. Water pools on the floor. Carolyn captures the nuance of the place with confidence, relying on the space’s ability to render rather than dramatic camera angles. A professional in a magic environment.
Pamela Nelson is a Dallas treasure. Her career started in 1974 after graduating with a BFA from Southern Methodist University. She has gone on to teach and show at various institutions in the area, including the Dallas Museum of Art, and even served as Vice Chair on the US Commission of Fine Arts. For “EVIDENCE: Paper Trail”, Nelson has cobbled together a “greatest hits” of her collage work from the last ten years. Nelson’s work is intuitive: it warps edges of paper into lines, shifts puddles of texture into shape. Her love for pattern is ever on display, it’s how she manages such a busy surface. Her playful yet systematic arrangement winks at her paper choices, she gives structure to draw you in towards the details.
New York born artist Chris Mason is still trying to find peace. His upcoming exhibition, “Higher States”, is concocted of both the old and the new. Known for his wire climbers (wire wound into figures trekking upwards), Mason has opened his work up to include different methods of ascension: meditation. His tightly wound figures are charged with the energy that comes from searching the soul rather than disciplining the body. They sit in repose, finding harmony though the rigid wire they’re composed of is at odds with their lax position. It makes sense when he claims the figures of High Renaissance and comic books as influences. Paradox abounds. The climbers are here as well. Weighed down by gravity’s pull on their material, they are fixed on their way north. We begin to see traces of ourselves in these bodies; against all odds we hang on, intent on moving forward despite the challenges we face.