Brazos Gallery – Richland College
March 7 – April 5, 2013
Reception: March 7, 6:00 – 8:00 PM
Performance by M. Kate Helmes during the reception

Kendra Briscoe
M. Kate Helmes
Hannah Hudson
Pierre Krause
Marjorie Schwarz

Taking its title from Pierre Krause’s artist statement, TO EXIST AND TO AGAIN EXIST highlights artists from the Dallas/Fort Worth area each at differing stages in their career. The group’s selection centers on the varying methods in which the artist responds to the act of making. The title thus addresses the crux of art production and speaks to the nature of the work presented. This could be a painting, drawing, found item, or event, regardless, in the creative act, a state of existence is either substantiated or referenced—“I AM STILL ALIVE.” Yet the work is not simply tied to singular gestures or Post-Duchampian indebtedness. Here the artist’s selection is more than a choosing of that which was previously made, but rather, considers various modes of finding: that in the brush stroke on a canvas, the placement of a thing in space or the moment attached to an event or written word. The artist thus reminds us of impermanence as well as the potential of propagation via the act of art making.

Richland College is proud to present Cassandra Emswiler. A recent MFA graduate from the University of Texas at Dallas, Cassandra will exhibit recent work based on quotidian details, mass production and personal memories.
The artist explains,
“While moving to Lake Texoma over the summer, I gave up my collection of found and store bought flooring tiles. In its place, I’ve begun designing and printing my own tiles, searching for the ideological origins of all the boring and predictable motifs that find their way onto mass produced flooring. These new photographic prints are concerned with how wilderness ends up grafted onto symbolic, orderly space, how an impression of nature is trained to fit within a grid—of a garden, or a bathroom floor—which allows for strangely controlled flourishes and emblems that are part of our collective memory.
Each tile mimics contemporary design trends while directly quoting historical French formal gardens from the 17th and 18th century. Looking at engravings of many of these garden ground plans is like looking at an assortment of flooring tiles from Home Depot.
Beneath the white graphic motifs are snapshots of landscapes, which interest me for their banal qualities and personal significance as documents of lakes I have visited in Texas and Michigan. Designing tiles has become a way for me to quietly combine traces of my own biography and family mythology with my concerns for the public built environment and photography’s relationship to faux veneer building materials.
When I am out on Lake Texoma in my kayak, I dream I am in Rock Harbor off the shores of Isle Royale. In visiting and documenting each of these lakes, they have all become the same place.