Brought to Nothing is Something
On display March 6 - 28, 2020
Open Saturdays from 11 a.m. - 2 p.m. during exhibition dates. Or contact us by email to set up an appointment to view the show at another time.
Opening reception on March 6 from 6 p.m. - 9 p.m.
Open for 2nd Friday Art Night on March 13 from 6 p.m. - 9 p.m.
About the Exhibit:
The “Everything You Need to Know” website that intends to prepare visitors for the breezy summit and scenic overlook of Palatine Hill in Rome offers the following caution: “Without a guide or guidebook, it can be difficult to make sense of the ruins of the Palatine… you don’t want to be one of those tourists who wanders aimlessly around the hill, with no idea of what
they’re looking at.” Ignoring the bevy of supplied links for guide services made available by the website, Aaron Collier became “one of those tourists” in September of 2017.
The difficulty of making sense of the excavations and remains drove him up Palatine Hill. The promise of innumerable fragments, crumbles, and ruins (all touched by harm of some kind) was the reward of the climb, not the handicap. A profound inability to explain away or see through every layer was the desired experience, promising degrees of bewilderment and
mystery. This act of looking was one that prized possibility and questions rather than answers and identification.
Aaron's professional practice as a visual artist is one that implements several modes of image making towards squaring with the central questions that drive his research: what is one to do with a small and incomplete knowledge of a vast, complex, and multivalent world? What challenge or gain accompanies an incomplete knowledge of the world? How are images,
which are inherently shards or snippets of information, able to picture this inability to know in full?
Abstraction, marked as it is by the ability to be both suggestive and silent, proves to be a fitting vehicle for exploring the possibility of paint to simultaneously reveal and conceal. This dichotomy parallels a shifting, evolving world where what we know consistently shares an edge with what we do not. Paintings in in this exhibition are based on observations of ruins,
which physically embody the edge between the known and the unknown. Piecing together a knowledge of something through remaining or available fragments mimics our daily interactions with the world. Rather than suggest that these interactions foreground a certain lack or shortcoming, Collier wonders if incomprehensibility could serve as a source of joy?