Last week I was at Wilder and Davis, about which I have already written, and thankfully they have extended the exhibit that they have by Shelley Freeman until the end of the month or so. It's called Into the Empty: explorations recentes. Somebody should politely explain to Ms. Freeman that puns are only good in Marx Brothers' films.
Thankfully, her lack of talent in puns is inversely proportional to her ability to wield a paintbrush. Yes, all the paintings are about nooks, crannies, tunnels, caves and other dark places, but they are quite impressive, doubly so because of the setting.
[if you're having difficulty seeing the pictures, click here]
One problem with exhibitions in "non-traditional" gallery spaces is being able to get reliable information, this is not a knock on Wilder and Davis, but more a reminder to me, that if I am going to write about other people's art, then I should take better notes, especially if I am going to do it a week after having seen the show. Which is a long winded way of saying I have no clue as to the titles of the paintings, sorry.
What you can't see in these photos is the thickness of the paint that Ms. Freeman uses. Not only are the pretty striking representations of said "nooks, crannies, tunnels, caves and other dark places," but if you get close enough you can actually stick your nose into them as well.
They work particularly well in Wilder and Davis because the building itself is full of "nooks, crannies, tunnels, caves and other dark places." I could riff off and discuss the significance of the relationship between the paintings and the space where they are hung, but I figure that y'all are sufficiently intelligent enough to figure it out for yourself. If you aren't then you really should be reading something else. If you haven't been to Wilder and Davis, yet, then I can understand your confusion.
Basically the place is a luthier (fine folk who fix fiddles) that is in an old, very old, graystone building. These first three pictures are all of paintings on the ground floor in the waiting area / reception room. They are all very fine paintings, quite pretty and nice, but the theme doesn't really hit you until you venture up the stairs, in the hallway next to the stairs is one painting (not pictured) where it starts to creep up on you, and by the time your on the second floor you’re slapping your forehead and saying to yourself "I get it!"