Gibson, who is in his mid ’30s, took two years to create this show. His process is slow and painstaking, but the result is ebullient.
What inspires Straight’s works has less to do with the real world around us and more to do with systems and their magic, their ability to keep control over the chaotic world. Some of the non-grid spaces are filled with marks that remind me of pickup sticks–a relatively chaotic bundle of marks. But the chaos is never allowed to take over; the lines are unbending. All grids and plaids and swooping pinwheels, the work suggests buildings and cities and their inherent magical powers. It also suggests skies and great depth. But it’s a universe that follows strict rules. (Here’s a previous post I wrote on some more fabric-y, less controlled work of Straight’s that I saw previously at Schmidt Dean).
I’m forever intrigued by how similar tactics can evoke such variety of thought and express such different intents. While Gibson seems thoroughly to express earthly concerns and an interest in the here and now, Mack and Straight are seeking to place our world in the universe–or universal forces within our everyday world.