visit us: gallery hours
Wednesday 10am - 4pm
Thursday & Friday 12pm - 7pm
IN OUR GALLERIES MARCH 10 - APRIL 23
Jeffrey Hansen has lived and worked in Lowertown, St. Paul since 1994. Hansen’s artistic endeavors started in 1991while living in White Bear Lake where he also opened his own workshop and studio. He attended the College of Visual Arts and graduated in 1993 with a Bachelors degree in Fine Arts with major studies in painting, photography, and printmaking, and minor studies in sculpture, design, and furniture making.
Hansen thrives on sharing his visual discoveries and imagery through the use of life long learned techniques, visual ideas, and influences pulled from the Abstract Expressionist movement with nods to ‘action painting’ and minimalism to abstractly emulate the natural world; rock surfaces, water erosion, tree bark, and overall weathering. “A certain energy, form, function, and connection is created through both visual and emotional interaction of the piece while creating it, and when it feels right for the moment it completes itself before me. The optimal end result shows how chaos and order share that space and ultimately, our world.”
In his upcoming exhibit, he applies the concept of Non-Zero-Sum and the shape of a circle to convey an idea of infinity and of time. Circles span within the artworks forming abstracted subjective symbols while utilizing textures that emulate the effects of erosion. Entrusting viewers to make connections to a notion of time that may bring in personal meaning to what timeless and symbolic ideas they may harbor at any one instant.
The original term ‘Non-Zero-Sum’ refers to situations usually found within parameters of game or economic theory and generally having no universally accepted solutions. Where in these artworks the circles visually generate no universal degree of sameness to any one viewer at any one time. Where here, the odds within the artworks create boundless loops and circular infinite subjectivity that share that opposition. The precision in which the circles appear in the plain of the artworks paired with the randomly applied textures markedly represent that opposition, helping ground the works in a reality of now-ness.
“I allow certain freedoms of the medium to emerge with an anticipated balance of control that is an unknown, yet intentional factor of my process. Parallel to many of the artists of that movement, I feel I am continuing on those ideas with my own visions and process. Recently I introduced incorporating circles, which I have always had a fascination for, adding a new and exciting aspect of symbolic and metaphoric overtones to my work.” The circles and loops create visually unique aspects of duality where the randomness of how the painting process used produces an overall abstracted erosion to how precise and simple the circles are set in that same plane of randomness.
He mentions that some viewers correlate the circles to spinning wheels or records. “I wish to push the boundaries beyond the literal into more creative means of interpretations, relating aspects of science, physics, and math privy to what I think on a larger scope of the Earth, Sun, Galaxy, or smaller scope of protons. Historically, circles have an infinite visual value that we all connect with in some way and see or interpret differently.”
Areca Roe is an artist based in Mankato and Minneapolis, Minnesota. She works in many media; primarily photography, as well as video, sculpture, and installation. A recurrent theme in her work is the interface between the natural and human domains, particularly our relationships with animals. More recently her work explores how biomes are being affected by climate change, present and future.
Areca received her MFA in Studio Arts, with an emphasis on photography, from University of Minnesota in 2011. She currently teaches photography at Minnesota State University, Mankato. Her work has been exhibited nationally and internationally, and since 2015 she has been a member of Rosalux Gallery, an artist collective in Minneapolis (with her third solo show there in June 2019). Roe has also received several grants and fellowships in support of her work, including the Minnesota State Arts Board Artist Initiative Grant and the Art(ists) on the Verge Fellowship. Her work has been featured on sites such as Colossal, Slate, Juxtapoz, WIRED, and Fast Company, and in Der Spiegel Wissen magazine.
Drunken Forest statement:
The far north is warming and permafrost is changing with uncertain and unsettling results. In the summer of 2018, I photographed around Fairbanks, Alaska, where rising temperatures are affecting the permafrost below. The consequences of this thaw are both immediate and long term. Sinkholes are appearing in the landscape, and the shifting ground is altering areas of forests to become tilted or "drunken," and some houses that rely on permafrost as a stabilizing factor are slumping. Carbon dioxide and methane (another potent greenhouse gas) are being released from this thawing landscape, with the potential to create a devastating feedback loop. As a photographer, the visual manifestations of these changes have captivated me. I spoke with several scientists researching permafrost to locate sites. The resulting series is titled Drunken Forest, the evocative term used even in scientific literature for the areas of forest destabilized by permafrost thaw. I think these visual changes serve as powerful metaphors/warnings for the far-reaching and destabilizing consequences of permafrost thaw, and climate change in general.
My art practice engages with our complex relationship with the natural world--we need it, we revere it, we protect it, and yet we also destroy it. I explore the ways that the natural world and human-made world intersect, exploring our relationships with animals, with the landscape, and with climate change. In our culture we have largely separated ourselves from the natural world, trying to insulate ourselves from its vagaries. How sustainable is this? How long can it last?
I have long felt a curiosity to tease apart and fathom the interconnected web of living and nonliving landscape, the human and non-human animal. Some of this interest stems from my studies and work in the field of ecology as a young adult, when I spent time helping with research on the dwindling prairie habitats of Minnesota. With this interest is a growing concern. Climate change, air and water pollution, and deforestation loom large. I am increasingly exploring these themes as a way to understand them, start conversations about them, and simply deal with the dread they induce.