Current and Past Exhibitions and Events

this is a picture of ~ Carin Rodenborn

Exhibition Dates: 10 September–31 October 2015

Artist Reception: Friday, 25 September 2015, 6–9 pm

(this is a picture of) your dad, Carin Rodenborn 2015. Photo by Wes Maygar.

(this is a picture of) a state of mind not the name of texas, Carin Rodenborn 2015. Photo by Wes Maygar.

(this is a picture of) totally saturated nourishment, Carin Rodenborn, 2015. Photo by Wes Maygar.

About the Work

this is a picture of is an exhibition of acrylic paintings on linen by Carin Rodenborn.

Of: a preposition used to show belonging, relating, or a state of connection with or to. Of what is it a picture? Carin Rodenborn explores the reach of picturing's subject, and what's just beyond reach.

Curious about formal and metaphorical connections and convergences, Rodenborn experiments with how form and metaphor play on each other through color, shape, space and a consideration of edges. Her work has always been rooted in painting, yet when immersed in the process, she is often more involved with the object of a painting than she is the image. In this way, a material sensitivity transcends meaning.

In this body of work, as in much of her work, the crossroads of geometric and expressive qualities of abstraction together embody both vulnerability and a sense of strength.

Artist Statement

I have tried to remove weight, sometimes from people, sometimes from heavenly bodies, sometimes from cities; above all I have tried to remove weight from the structure of stories and from language.

—Italo Calvino from Six Memos for the Next Millennium

Like Calvino, I am looking for ways to suggest lightness. I am curious about formal and metaphorical connections and convergences, and how form and metaphor play on each other through color, shape, space and a consideration of edges. Lightness is found both in this playful banter and in a material lightness of touch.

My approach is an exploration of spaciousness through an inquisitive experimentation with materials. I work with both traditional and non-traditional materials in a painting and drawing practice that often looks a lot like sculpture. My work has always been rooted in painting, yet, when immersed in the process, I am more often involved with the object of a painting than I am the image.

There is a sense of wonder in the search for and the study of the poetics of painting and drawing that makes for a joyful, if not sometimes awkward, pursuit. For me, both the joy and awkwardness present in this pursuit meet at the crossroads of geometric and expressive qualities of abstraction that together embody both vulnerability and a sense of strength.

About the Artist

Carin Rodenborn is a visual artist and writer of creative nonfiction. Both her visual work and writing often explore hybrid forms. She is an Iowa native, and now makes her home in Denver. She received her BFA from Iowa State University and her MFA from Rutgers University. Her visual work has been exhibited throughout the United States, and she is co-founder and editor of Dime and Honey, an online publication that looks at and celebrates the intersection of art and life.

Additional images available upon request.


Amelia Carley and Lauren Mayer

Exhibition Dates: 25 June–25 July 2015

Artist Reception: Friday, 26 June 2015, 6–10 pm

Talk with the Artists: Sunday, 12 July 2015, 11 am–12:30 pm

Strata(Stratum) Amelia Carley and Lauren Mayer


About the Work

With heavy consideration of color and formal qualities, Amelia Carley's new body of work consists of paintings that explore a macro-photographic view of geological material, particularly quartz and amethyst. Utilizing a camera as a major component of the work, she exaggerates depth-of-field properties to create the feeling of a human-size, almost landscape, experience of these prolific inorganic forms. The painted microscopic perspective pushes the experience towards a forced visual abstract that is reliant on color and composition.

Lauren Mayer's work deals with how people create a personal intimacy and knowledge of oneself through accumulated objects, whether hidden in a stack of clothes in a bureau in the corner or on display in the form of a chair. Understanding how memory and identity can become attached to objects, especially to pieces of furniture or objects of clothing, rests as the foundation for much of her work. Something as simple as the idea of what someone holds in his or her pockets offers up narratives of internal and external lives told through objects.

About the Artists

Amelia Henrietta Carley was born and raised in Colorado. She graduated with honors from the University of Colorado at Boulder, receiving a Bachelor of Fine Arts in Painting and Drawing as well as a Bachelor of Arts in both Psychology and Italian. Exhibiting locally and nationally, she currently lives and works in Denver, Colorado, and is an artist at TANK Studios. At the end of summer 2015 she will be relocating to Atlanta, Georgia, to pursue her Masters in Fine Arts at Georgia State University where she's been awarded the Dean's Fellowship Award at the Welch School of Art.

Lauren Mayer is a ceramic sculptor who lives and works in Colorado. She received her BFA in Ceramics from Michigan State University and a post-baccalaureate degree from the University of Massachusetts, Dartmouth. She received her MFA in Ceramics from the University of Colorado, Boulder in 2009. Currently teaching Ceramics at Metropolitan State University of Denver, she has also taught at the University of Denver and the University of Colorado, Boulder. In recent years she has enjoyed time of making new work as a resident at Anderson Ranch Arts Center in Colorado and Red Lodge Clay Center in Montana.


Some Ideas Perceived by Mediation of Others ~ Stefan Chinov

Exhibition Dates: 30 April 2015–20 June 2015

Artist Reception: First Friday, 1 May 2015, 6–9 pm

untitled - stefan chinov

Untitled, dyed plaster


Distance of Itself to the Invisible, inkjet print on paper

The photographs and sculptures in this exhibition combine the experience of the vast and impersonal landscape of Antarctica with the discreet space of individual studio explorations. The photographs imply themes of distance and migration. Taken in Antarctica with a handmade pinhole camera, a small wood box that “inhales” the space around it as opposed to epitomizing it, they show landscapes and human presence in a mixed manner of documentation and reflection. This process adds an eerie dimension, an extension of the landscape in time rather than a direct representation. The resulting images are an evidence of fragile natural systems in a state of flux, caught between violent natural events, a rapidly changing climate, and human presence. Parallel to the photographs, the sculptures attempt to deliver a compressed sense of structure and materiality. Their conception lies in the potential of abstract form to evolve upon itself and to convey emotion and meaning even when it appears to be completely removed from external references.


What is Lost Can Not Be Retrieved, dyed plaster and pedestal


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