Fiber Optic, November 7 – December 19, 2015
Neither Here nor There but Anywhere and Everywhere, June 22 – August 11, 2012
MINUS SPACE en Oaxaca: Panorama de 31 artistas internacionales, Multiple Cultural Venues, Oaxaca, Mexico, March 15 – April 30, 2012
Carrie Pollack: Witness, January 13 – February 25, 2012
Between This Light and That and Space, June 25 – July 30, 2011
Carrie Pollack (b. 1973) has exhibited her work throughout the United States, as well as in Germany and Belgium. Pollack has exhibited recently at Jeff Bailed Gallery, BRIC Rotunda Gallery, Monya Rowe Gallery, and David Krut Projects, all in New York. She has also produced editions with Daily Operation in New York and Sonnenzimmer in Chicago, IL. Pollack has been awarded residencies at Yaddo, Jentel, Virginia Center for the Creative Arts, and Vermont Studio Center. Her work has been discussed in publications, such as Time Out New York, Metropulse, and The Daily Beacon. She holds an MFA from the University of Iowa, Iowa City, IA, and a BFA from Alfred University, Alfred, NY.
How do you make something visible, tangible and concrete when what you are trying to convey is indescribable and ephemeral? How can you convey the presence of something that is no longer present? These questions possess a mysterious complexity, revealing a different way of looking at the world and are the terrain of my work.
There are many layers to how we see and make sense of our surroundings and experiences. Momentary fragments in a constant state of transformation possess dual qualities. Deteriorating papers left posted on walls speak of permanence and impermanence; fabrics worn by friends and family touch upon loss and desire; a fleeting glimpse of the transitory sky evokes a feeling of presence and absence. These visual metaphors become parts of a language used to contemplate the human experience.
In the studio, I use approaches and materials in ways that emphasize this duality and complexity. A picture of texture is very different from a textured thing. Actual touch is very different from the virtual representation of touch. Exploring variations of this perceptual shift, I contrast the physical and historical understandings of painting with contemporary processes, such as digital photography and printing. This investigation creates a space of tension, a feedback loop, a mirror of sorts, and room for new dialogue that reveals interesting contradictions between these paradoxical mediums, allowing these relationships to become visible. This directly parallels the sensory complexity I experience everyday.