Mirroring the image of a seasoned Olde World guild craftsman’s workshop, a studio space exudes consummate attention to detail. Jars and wooden vessels store troves of pens, like scaled-down silos stuffed full. Straight edges and obscure stencils of great variety each have their place, arranged meticulously.
Tiling the tables and walls, the flourishing offspring of Nick Ludwig’s utensils have qualities expected from a currency mint engraver’s plate, a preciseness however rendered only with ink and a small metal sprocket as a stencil guide.
Ludwig’s designs each spiral from a vertex with mathematical symmetry of natures order, as curved structures radiate with his discretion for line and complementary pigment. Fanning out, each petal-like appendage has a main color fill. The final touches of texture are given with a sensitively graded cross-hatch, channeling folk stories and wisdom centuries old.
Ludwig shares a 1st floor studio space with several artists at the Hide House. Bay View Gallery Night is tonight from 5p to 10p.
In the undergrowth of the Hide House, creative spores germinate in a first floor alcove, a respite for a few recent MIAD products. Spring Gallery Night in Milwaukee gave them a chance to showcase their toils, carving dedicated display space into sections for each studio mate’s work. Bay View Gallery Night may prove more of a debutant dinner party.
One wall stood out. Sparse and drained, outlines of a horse’s head vaguely pressed against the art paper’s surface. Other mammalian taxidermy busts stuck to the wall as well. The strokes appear once over and the chosen colors contrast muted purple shades adjacent to white. Why do I like these? Maybe the concept? Tegan Andrich has conjured these images as game hunter would aim, fire, kill, lop off a trophies head, stuff and mount it on a wall, brutal and decisive.
Another of Andrich’s paintings, braced over the canvas stretcher bars, holds a large format. Loosely defined, the composition’s meticulous figurative themes finish craggy, defining the outermost edges sometimes with a blur of paint. The center-most portions of the painting render blindness, conspicuously possessing a subtle and thoughtful wash.
Searching for a reference in Andrich’s work to an art movement, led me to Dee Ferris, a cagey contemporary artist in the UK. A now defunct indie art mag Under/Current had one of the only early written reviews out there of Ferris’s work. A exceedingly well-composed critique by Yannis Tsitsovits suggested a possible stylistic answer, a Russian literary device: ostranenie.
Bay View Gallery Night runs tomorrow at various locations through out Bay View including the Hide House.