G. Gibson Gallery,
In this exhibition, Carolyn Krieg continues to display her virtually inimitable blend of enfolded technology, cross-cultural reference and juxtaposition: building contemporary ìrelicsî from vestiges of travel and contemplation on the mytho-iconography of a seemingly timeless world. Through a self-styled alchemy that includes digital and chemical photography, computer manipulation and Polacolor printing, she achieves her objective ñ photo-collages of exceptional beauty and mystery. Krieg began her artistic career as a painter in the 1980s, the post-Rauschenberg era of photo-based transfers, screen printing on canvas, and a general melding of all the media arts in pursuit of new manifestations and re-articulated levels of expression. Her drawing and brushwork quickly gave way to methodologies that could more aptly express her particular world view ñ indeed, not one informed by a ìPop artî sensibiltity, but rather steeped in literature, history, sacred imagery and her own vision of collective and archetypal memory. The title ìA Boy & His Dog,î for instance, is stripped of its sentimental connotation when found images are re-contextualized in a single frame. Krieg discovered the boy on a 530 B.C. terra-cotta vase in Sicily, and the dog (in a storm of snakes) guarding the gates of Hell in a tapestry at a popeís palace in Avignon; she decorates her border with remnants of Native American Tlingit weaving from the West Coast. Selected individually for their visual potency, the images in tandem suggest vaguely familiar mythic nuances that lie tantalizingly close to the surface of oneís unconscious.
© Ted Lindberg