Like its companion exhibit, Out of Time, Out of Mind, the
drawn exhibition Out of Line is a statement in absence, and how absence can
shape certain presences. The exhibition’s main genre, drawing, reveals itself
as an absent creation — it is sculpture absent of form, or painting absent of
layers.
“To Lupita Low Life; Happiness is Eating Eggs; Love You;
Edie Massey” explores the shared symbolism of the drawn form and written word,
where images and characters become interchangeable. The mixed-media works of
Jorge Tellaeche’s untitled piece makes commentary on vintage portraits and the
underlying neurosis just waiting to be psychoanalyzed, while Masami Teraoka’s
study for “LA Sushi Series,” a 1981 pen-and-ink rendering, references an atlas
of Japanese cultural iconography — woodblock prints, sushi menus, cartoons and
calligraphy — through shared negative space.
The exhibition is a broad, sometimes off-topic investigation
into drawing methods, and the concept of rendering absence to elicit presence.
As an artist (but much like a terrorist), UCSD M.A.
candidate Iana Quesnell engages the living environment through drawings that
map her surrounding ecology.
Regardless of location (in her car, a studio, a hotel or a
tent) or position (frontal, bird’s eye, street map) Quesnell draws a variety of
landscapes in charcoal that depict her latest ecology. Tight, careful
renderings become expansive spaces as her large-scale images absorb the viewer
into all perspectives comprising her living environment.
The Cerca Series presents several new drawings and an
animation that explores the fluid, binational environment that Quesnell
occupies.
Through Nov. 7
“Out of Line: An Exhibition of Drawings”
Four Walls Gallery
