Candice Smith Corby, Andrea Sherrill Evans, Louise Marshall, Soe Yu Nwe
Saturday, January 27, 2018, 4-6pm
January 27 - March 17, 2018
Drive-By Projects, 81 Spring Street, Watertown, MA
Thursdays 12-4pm and by appointment:
Call or text 617-835-8255.
Drive-by Projects is pleased to present Love Knots, an exhibition celebrating "the knot" as a symbol of love, union and unbreakable vows, but also of confusion and mystery. Works on paper by Candice Smith Corby, Andrea Sherrill Evans and Louise Marshall, ceramic sculpture by Soe Yu Nwe and a knitted piece by Evans all explore the metaphorical meanings of knots.
Andrea Sherrill Evans' striking, knitted two-person hat, Reverse Double Balaclava, is also depicted in watercolor and silverpoint as worn by herself and her husband. Though the two people wearing the garment are joined by a knot, they face away from one another, thus evoking, in the words of the artist, "both the inherent desire for connection, while simultaneously signaling its fundamental impossibility."
Andrea Sherrill Evans, Reverse Double Balaclava Portrait,
2010, silverpoint, watercolor, 8.5 x 11"
In her Lovemeknot Series, Candice Smith Corby uses exotic materials (handmade elderberry ink, gold leaf, venetian red pigment) on handmade paper to conjure up the rich experience of falling in and out of love. Pink and gold clouds are entwined with rainbows in Cloud Bound, while a more constricted form and somber palette dominate Medieval. Smith Corby's tangles of looping lines capture the ins and outs and ups and downs of romance, while the artist declares "all is fair in love."
Candice Smith Corby, Medieval Rainbow Glow (lovemeknot series),
gouache, gold leaf, venetian red pigment on paper, 22 x 30", 2017
A third generation Chinese immigrant in Myanmar, Soe Yu Nwe explores her experiences as a cultural outsider in her delicate yet haunting ceramic sculpture. Nuturing Hands references the Asian concept of "Spirit Houses" as shrines to the protective spirit of a particular place. Though there are no literal knots here, Soe's hands curl around delicate porcelain blossoms in an arching gesture that suggests the mending or bringing together of "a fragmented and dislocated self."
Soe Yu Nwe, Nurturing Hands #2, 6 x 6 x 6",
Glazed Porcelain, cone 6
Louise Marshall's white on black ink drawings continue her exploration of hair as a metaphor. Much like Man Ray's Rayographs, Marshall's drawings present stark depictions of white strands on a black ground. Whether they flow together to join into knots, organize to create weavings or snarl into tangles, there is a sense of tension and release here that suggests a psychological and emotional subtext beyond what is merely observed.
Louise Marshall, Untitled, 2007, ink on paper, 22 x 30”