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Many years ago, Deborah Corsini discovered wedge weave, an eccentric weaving technique that some Navajo weavers experimented with for a brief time (1875 – 1890's). Instead of weaving perpendicular to the warp (the lengthwise or selvedge direction), as is usual for tapestry, she weaves at an angle. By building up a small triangle on one edge, and changing colors while weaving across the warp, an unending variety of stripes, chevrons, and zigzags can be created. Corsini notes she likes to think she is carrying on and is connected to the Navajo weaver's exploration of this unusual technique in a contemporary way. Though her work is abstract, current global topics like climate change, migration and political unrest are some of the serious issues reflected in her tapestries. Works featured in the show look at global warming (Rising, and, Fire Season), while Golden Boy/Black Widow is a metaphor of the harm humans are causing to our beautiful planet through the climate crisis, war and political and social unrest. These thoughtful pieces are balanced by Corsini's most recent piece, Strata, a landscape inspired by the Pacifica coastline. She has had two textile related careers that helped to hone her artistic spirit. Her experience as Creative Director for P&B Textiles and fabric designer, gave clarity to her color understanding and a deeper appreciation of historic and contemporary quilts. And as the former curator of the San Jose Museum of Quilts & Textiles, she developed many provocative exhibitions and was an advocate of contemporary textile artists.
From his body of work (watercolor, pen and ink and acrylic) on "Biophilia", a concept that humans have a natural tendency to commune and connect with nature, Joel Fontaine shares pieces that exude his caring for all living things, and invites us to do the same. Fontaine notes, "My hope is that attention to specific detail, and a slow, careful technique, shares my love and admiration of Life on Earth with the viewer." Gently enticing viewers to approach, one finds depth and richness of detail, including elements of surprise such as small creatures camouflaged in the forest or along the seashore; women in quietly prominent roles, reflect compassion and a state of peace and oneness with nature. Born and raised in San Francisco, Fontaine first attended San Francisco State, going on to study Theatrical Set Design with Ming Cho Lee at the Yale School of Drama. He continued on to design scenery for theatre and ballet productions across the country, including in New York, Washington D.C., St. Louis, San Diego, Seattle, Portland and throughout the San Francisco Bay Area. In 2000, Fontaine began to create works outside of the theatre world, applying his skills in drawing, drafting, research, and visual storytelling to pen and ink work. He notes, "Often using classical architecture and mythology as a quarry, my intent is to offer clarity, compassion and quiet contemplation in my pictures."
Art making can be an expression of many emotions, including grief. Over eight months, Shane Murphy reflected on the loss of his closest friend, evolving the pain and anguish into artworks that are an organic and unpretentious expression of an interior world. Murphy notes that "together they represent the lonely, mercurial, and isolating experience of loss". Titles of the pieces take us through the stages of grief: Denial, Anger, Bargaining, Depression and Acceptance. The body of work starts with two shapes bound together, disassembles, and then flows into a strong singular circle. Subtly entrancing, with repetitive and meditative detail, drawn woven strands are densely interlaced throughout each work. Labels for the ink on paper pieces are handwritten by family members and friends, enhancing the personal context of the works. The artist invites visitors to the gallery to share in their own word, thought or image an expression of their feelings on loss, in a grief book placed by the works.
Also full of memory, with a sense of time passed and loss, is the fine art photography of Cynthia Rettig and her "Moments in other People's Houses" series. Rettig, who is involved with estate sales, sees the places she works in through a photographer's lens, at times respectfully documenting memories of those who have moved on from their long time homes, no longer needing the items that surrounded them for years. She notes, "I'm interested in how light travels across furniture, rooms and windows. Time frames the absence of objects, markings of moved furniture, paintings and footpaths on worn rugs. Every house is a story and a constant reminder that all is temporary." Rocks in a Bowl with their annotations of place and time, could reflect on happy times on family trips. Wedding Dress Hanging could bring forward a cherished memory of a special day in one's life or a sense of sadness if that union ended in death or was broken by divorce. Locks of hair with a handwritten note in Precious DNA, remind us of personal moments – a first haircut or a new style. Rettig leaves it to the viewers imagination, and possibly their own history, to wonder and create the story for these objects left behind. Rettig received a BFA and MFA in Fine Art Photography from the San Francisco Art Institute in the 1990's. She has a studio at Sanchez Art Center.
Sanchez Art Center is located at 1220 Linda Mar Blvd, Pacifica, about a mile east of Highway 1. Following opening night, galleries are open Friday, Saturday, and Sunday, 1–5 pm, and by appointment, through Nov 24. For more information: www.SanchezArtCenter.org or info@SanchezArtCenter.org. Visit the Art Guild of Pacifica website (www.ArtGuildofPacifica.org) to learn more about AGP including how to become a member and the benefits.
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