Archive for the ‘Uncategorized’ Category

“Murder in a Small Town” + “Golden Girls” = April 2019

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Thunder-Sky, Inc. presents “Murder in a Small Town: John Auer, Emily Brandehoff, Megan Christ, Sarah Lalley, Christian Schmit, and Evan Verrilli,” opening April 6, 2019, reception 6- 10 pm. Show closes June 1, 2019.

The inspiration for this exhibition is drawn from the life and career of Frances Glessner Lee, who was the first female police captain in the United States and known for her painstaking construction of the Nutshell Studies of Unexplained Death, a series of 20 dioramas depicting actual crime scenes. In response to Lee’s efforts, we’ve selected 6 artists to create work that either depicts a “scene of a crime” or alludes to a crime scene.  The works include a variety of media, intentions, and inventions.  Each artist has his/her own take on how visualizing and conceptualizing “true crime” creates whole other avenues of though and dream.

Also, during the opening of the show a couple doors down, we will be sponsoring a live script-reading of The Golden Girls, to accompany a show in the basement and at The Comet of works by a plethora of artists from across the nation inspired by and memorializing the classic sitcom.  The reading happens 6 – 8 pm at The Comet 4579 Hamilton Avenue Cincinnati 45223.

“Charlottesville” in Reverse

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“Charlottesville: Works by Thomas Condon and Charlotte McGraw” opens Saturday 2/23/19 at Thunder-Sky, Inc. with a reception 6 – 10 pm.

The title comes from Charlotte McGraw’s painstaking collaged/painted/drawn works that detail a “Charlottesville” that isn’t about the 2017 “Unite the Right” rally that ended in bloodshed and division. In fact, Charlotte’s revision of that whole milieu is the point. Not an erasure but a collection of works that try to get at politics and decency without reverting to division, to stereotypes, to platitudes.

Thomas’ work as well has a mysterious and poetic ambiance, sculptures and other media put to use in a variety of cryptic yet somehow specific-because-they-are-cryptic ways. Like Charlotte, Thomas finds lyricism in the wasteland of politics and rants. Both artists create universes that transcend commonalities while embracing reality.

This is “Charlotteville” in reverse, created by 2 artists with almost nothing and yet everything in common. The essence of a “Thunder-Sky” show.

Hang out with Saturday and see…

Thomas Condon
Charlotte McGraw

“Charlottesville” Parade

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Charlotte McGraw
Thomas Condon

We are so happy to present “Charlottesville: Thomas Condon and Charlotte McGraw,” opening February 23, 2019, reception 6 – 10 pm. Show closes March 30, 2019.

Charlotte McGraw is an artist from Columbus, Ohio who has developed a vision and style all her own; Thomas Condon lives and works here in Cincinnati, focusing on the connection between meaning and perception.  Both their approaches and visions help to create an alternate universe where kindness, mischief and imagination rule.  Repurposing and collaging a variety of materials and ideas, they find satisfaction and salvation in reconfiguring the world around them into totems and images that symbolize ideas between shown than told.

Join us for a celebration of these 2 incredible artists, February 23, 2019.

“Art School” Opens January 5, 2019

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Thunder-Sky, Inc. (4573 Hamilton Avenue, Cincinnati) presents  “Art School with Clint Bassinger, Curtis Davis, Malik Harris, Arvind Sundar, and Ethan Waldeck.” The show opens January 5, 2019, reception 6 – 10 pm, and closes February 15, 2019.   

“Art School” Explained

“Art School” is often not about “art” and not about “school,” but about the ways people who are artists find their way to making what they need to make, either via teaching themselves, each other, or learning through some kind of institution.  However they discover who they are and what they are supposed to make, this process seems to be about finding ways to convey what’s always been inside their brains and souls in the first place, externalizing and visualizing identity, ideas, obsessions.  These 5 artists are completely disparate in age and other differences (including educational access), and even though they work through a wide variety or styles and approaches, their art and practices share a sense of both playfulness and seriousness, stylishness and succinctness.   

These Are the Artists in “Art School”  

Clint Basinger

Clint Basinger is an artist from Owensboro, KY.  Now living in Covington, where he co-runs the Pique Art Gallery, with Lindsey Whittle, Annie Brown, and Noel Maghathe.  Clint was an art major at Murray State University.  After college, while living on the family farm, he taught himself to write and draw comic books.  He has created over 30 comic books, under his company Cosmic Moustache Comics.  In Clint’s recent work, he’s taking old family photos, and adding to their story.  The old Polaroids of family stories and legends are given new energy and new life.

Curtis Davis

“Everything.  I want them to see everything.” –Curtis Davis

The unifying forces in Curtis Davis’ work are immediacy and joy.  He produces art daily at Visionaries and Voices studios daily committed to a painting process and routine.  His impulse to make art results in an abundance of new paintings and drawings produced daily.  In the case of drawings, they are made quickly, intuitively, and with recurring symbols.  Paintings typically take no more than two days to complete.  Sculptures are covered in a layer of fresh paint everyday but continue to be re-worked for months or years.  New objects are added and then paint applied on top.  Over time, the objects lose their meaning in the layers of paint and become echoes, replaced by the sheer physicality and weight of paint.  When asked at what time he considers a sculpture finished he always replies “when it’s done.”  His personal simplicities on life combined with his use of everyday materials create a wonderfully poignant body of work that is always growing.

Malik Harris

Malik Harris, 16 years old, is a Cincinnati Public high school Junior at Hughes High School’s Zoo Academy.  He is the youngest son of mother Kelly Isham, grandson of Theresa Mosley, with older brothers Andre, Zion, and Ron.  An accomplished musician, Malik has been active for a number of years with the Music Resource Center-Cincinnati.  He a member of both the Hughes High School Drum Line and the Cincinnati Stars Drum Line.  Malik is first and foremost an artist, an interest he has been pursuing since he was a very young child.

Arvind Sundar

The leisurely act of floating in the pool turned into an unconscious study of color and form. Confronted with a gridded ceiling of lights, the repetitive architectural structure was initially the point of attention but quickly moved to the afterimage that lingered behind closed eyes. This optic reaction became the focal point of curiosity, exploring the uncertain space of sight when one continues to see when the eyes are closed. Disparate gradients of color are sourced from memory and tied to specific moments in time and space, from a makeup palette to a dinner date’s dress. The paintings depict a reoccurring motif of imperfect modular units overlaid on a textured field of thickly applied paint. The images that linger when the field of vision have supposedly come to an end are formless and temporally obscure, which recall properties of painterly abstraction. -Sso-Rha Kang  More information:

Ethan Waldeck

Balloons have an inclination to bring about positive associations; relating to celebratory times, memories of innocence, and the idea of total freedom. There may be negative undertones arising from the presence of these objects, they are fragile, and their ultimate emptiness can result in emotions that revolve around loss and apathy. They are ephemeral objects that are constant but also unpredictable. Depending on another for their creation but in due time choosing their own demise, whether that be the ending of their created purpose, their own sudden decision of departure, or simply by having time take its toll. The human life-cycle is similar. The balloons are contradictory objects, double-archetypes. They take up space but are ultimately empty, they symbolize freedom but still eventually relinquish life, bringing us joy when present but heartache when they escape our grasp. 

My work re configures an object that is defenseless and frail, changing it into something with permanence and fortitude. Relating to experiences where one was emotionally damaged, and in-turn built walls or defense mechanisms to protect oneself from further harm. This was achieved by translating the objects form, a balloon, into a new material, bronze or plaster, and replacing volume with mass –  through the various steps of pouring, mold making, wax work, casting, tig welding, finishing, and polishing. These processes are used in my work to explore questions regarding time, development, vigor, impermanency, and vulnerability. For instance, taking a balloon and casting it out of bronze transforms the object that is temporary and makes it permanent. Also, the extensive process involved starts with an initial form that becomes completely lost but then undergoes its own evolution from its emergence to completion. Inherently, balloons are fragile temporary objects that exist in space only when one has the intention for them to do so. When doing this it creates a connection between the balloon and the person or thing that brought it to life. The action of blowing up a balloon, or any inflatable, I see as a process of growth, release, rebirth, and transference. Starting with breathing in which gives life then exhaling to discharge what brings us life and pass it onto something else. Humans relate to inflatables; breathing in to prime oneself, giving life, optimism, and posterity. Then exhaling, which symbolizes a release of life, coming of death. This simple performance creates a connection by relinquishing a past part of yourself and instilling it into something else that one can physically touch, see, and manipulate in space. Without the balloon as a vessel this piece of us becomes lost and completely irrelevant. By casting these objects in bronze or plaster, I am trying to monumentalize a previously temporary object that will outlive time and carry on the connection that I personally had with it.

smallville: thunder-sky, inc. 2019

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We opened our doors the first time October 2009.  This being our 10th season, we wanted to focus in on what we do and have done best.  Always going small.  That scale suits our main endeavor:  keeping Raymond Thunder-Sky in the mix as much as possible.  While his mission in life was developing his own artistic practice and living his life to pursue that unending goal, he did so in a very humble manner, without a lot of words or pomp.  He was marginal in the most magnificent way.  That’s what we strive for – the margin, on our own terms.  The shows we’ve pulled together for our 10th anniversary season exemplify beautiful stubbornness, a willingness to pursue ideas and aesthetics to wherever they need to go. “Smallville” is where Superman’s alter ego, Clark Kent, grew up. In many ways, Cincinnati was and continues to be Raymond’s Smallville. He spent many years here as an alter ego, a construction-worker by day, a dreamy-eyed clown by night secretly compiling a dossier of visions and drawings that show a Metropolis being demolished, paving the way for the ultimate Fortress of Solitude.

ART SCHOOL: Clint Bassinger, Curtis Davis, Malik Harris, Arvind Sundararajan, and Ethan Waldeck.  Opening January 5, 2019, reception 6 – 10 pm.  Show closes February 15, 2019.  Artists in high school, art school, and participating in the school of life shown side by side, with an emphasis on how practice makes perfect.

CHARLOTTESVILLE:  Thomas Condon and Charlotte McGraw.  Opening February 23, 2019, reception 6 – 10 pm.  Show closes March 30, 2019. McGraw is an artist from Columbus, Ohio who has developed a vision and style all her own; Condon lives and works here in Cincinnati, focusing on the connection between meaning and perception.  Both their works and visions help to create an alternate universe where kindness and mischief rule. 

MURDER IN A SMALL TOWN:  John Auer, Emily Brandehoff, Megan Christ, Sarah Lalley, Christian Schmit, and Evan Verrilli. Opening April 6, 2019, reception 6- 10 pm.  Show closes June 1, 2019.  The inspiration for this exhibition is drawn from the life and career of Frances Glessner Lee, who was the first female police captain in the United States and known for her painstaking construction of the Nutshell Studies of Unexplained Death, a series of 20 dioramas depicting actual crime scenes.  In response to Lee’s efforts, we’ve selected 6 artists to create work that either depicts a “scene of a crime” or alludes to a crime scene.   

CALL AND RESPONSE:  Antonio Adams and John D. Ross.  Opening June 8, 2019, reception 6 – 10 pm.  Show closes July 31, 2019.  Ross is an artist living in Indianapolis; Adams is the Thunder-Sky, Inc. Artist in Residence.  They met each other recently, and now are creating works in response to each other’s oeuvre.  The resulting exhibit will focus on how aesthetics thrive in response to someone else’s impulses and inspirations.

FRONKENSTEIN:  A Retrospective of the Works of Robert Fronk.  Opening August 10, 2019, reception 6 – 10 pm.  Show closes October 4, 2019.  Fronk has had an extensive career in a variety of media and venues.  He currently lives and works in the Camp Washington area, and the exhibit will survey current works.

THE LAST PICTURE SHOW:  Dale Johnson, Carla Knopp, Brigham Martin, Zach Schwab, and Brant Withers.  Opening October 12, 2019, reception 6 – 10 pm.  Show closes December 13, 2019.  Works by a variety of artists who delve in appropriating and reconfiguring photographic works through collage, technology, and other means, each artist finding new ways to distort what some call “reality” and others call “dream” or “nightmare.”


“Jim Bowsher and the Temple of Tolerance” Is a “Breakthrough”

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Here’s a link to read the review of our current exhibit “Jim Bowsher and the Temple of Tolerance” by Steve Rosen in CITYBEAT…

A quote:

The exhibition now at Northside’s Thunder-Sky, Inc. gallery through Aug. 3 is different from shows I’ve seen there recently. Indeed, it’s different from what I’ve usually seen here at our smaller, nonprofit alternative galleries — I think it’s a breakthrough.

CALL to ARTISTS: Chris Farley Tribute Show in October

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chris farley


Lay Off Me I’m Starving: Aesthetic Responses to Chris Farley opens October 14, 2017 (opening reception 6 to 10) at Thunder-Sky, Inc. Commemorating the 20th anniversary of Chris Farley’s death (12/18/1997), “Lay Off Me I’m Starving” invites artists from the region to contemplate Farley’s legacy as bombastic, slapstick clown, perennial people-pleaser, and tragic genius. On the exact date of his passing, we will be sponsoring a reading of literary works about him, as well as screen Tommy Boy, to close the show.

Type of works:  All media, whatever you come up with.   (Pictured above is a portrait of Chris, by Dion Hitchings, one of the first pieces we’ve received.)

Work drop-off:  October 7, 2017, 1 to 4 pm, Thunder-Sky, Inc. 4573 Hamilton Avenue Cincinnati, OH 45223.  PLEASE MAKE SURE you have a legible title, name of artist, and price attached to the work.

Contact: Keith (513) 515 9290 or Bill (513) 426-0477, if you want to participate, or email


Blizzard of the Heart

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“Thunder-Snow” features artists of all kinds and backgrounds responding to the the Great Blizzard of 1978, when at least this part of the world was turned into a furious white non-universe, and somehow a coziness, even a comfort, came from that.   The show opens 1/7/17, reception 6 to 10 pm at Thunder-Sky, Inc.  One of the great aspects of the whole situation back then was a cold sense of survival kicking in, and Sharon Butler, of the Bonbonerie here in town, will be surveying that instinct through asking people to remember and write down the food they ate during the storm, when you couldn’t get out of your house to buy stuff so you had to make do with what you had…  Sharon will be cooking a show-closing dinner from all the recipes and notions she collects during show.  More on that later…  Below are works in the show.  Hope everyone can brave the January cold to come out and celebrate real cold.

Katherine Michael

Katherine Michael

Steve Paddack

Steve Paddack

Bill Ross

Bill Ross

Jesse Speight

Jesse Speight

Everyday Is a Performance

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Antonio Adams


Craig Matis


Sky Cubacub


Lindsey M Whittle

April 29, 2016 (reception 6 to 10 pm), Thunder-Sky, Inc. presents “Radically Visible,” featuring the works of Sky Cubacub, Lindsey M Whittle, Craig Matis, and Antonio Adams. Also on the bill, in the gallery basement, Thunder-Sky, Inc.’s Emily Brandehoff is curating “Bowie in the Basement,” featuring over 30 artists’ visions of what David Bowie meant to generations of fans and artists.  Both exhibits close June 11, 2016.

Cubacub, Whittle, Matis, and Adams are artists who use costume, performance, language, and symbol as vital ways to break down the barriers between artists and audience, and to both celebrate and invigorate the conversations and tensions around identity, appearance, and meaning.  The title and spirit of “Radically Visible” come from Cubacub, who writes, “Everyday is a performance where I bring my body as a kinetic sculpture into the consciousness of the people I interact with.  Clothing is your second skin; it changes the way you hold yourself.  I consider it armor because it has the power to give you the confidence and strength to feel comfortable in your first skin.  Society wants us as QueerCrips to be invisible, to not draw attention, and this is reflected through the clothing options that are available for people with disabilities and undergarments for trans* folks.”

The works in the show range from clothes and performances to paintings, drawings, and collages.  Performances will happen throughout the evening of the opening reception.

Artists Bios and Statements:

Antonio Adams:  Born in Cincinnati in 1981, Antonio Adams has been drawing, painting and creating since he was a little boy. Now his work is exhibited and collected nationally.  He is one of the co-founders of Visionaries & Voices, an arts organization for artists with disabilities in Cincinnati, as well as Thunder-Sky, Inc., an art gallery also in Cincinnati.  His sculptures, paintings and drawings have been featured at White Columns Gallery in New York City, The Outsider Art Fair (New York City), The Contemporary Art Center (Cincinnati), The Cincinnati Art Museum, Base Gallery, Visionaries + Voices, the Pittsburgh Folk Art Exhibit and Symposium, Middletown (Ohio) Fine Arts Center, Fitton Center for Creative Arts (Hamilton, Ohio), University of Cincinnati Gallery, Kennedy Heights Arts Center (Cincinnati), Country Club Gallery (Cincinnati and Los Angeles), and In the Gallery (Nashville, Tennessee). His art was featured in an exhibition at the Museum of Everything in London, England.  He has an upcoming exhibit at the Westin Gallery in Cincinnati in November 2015.  Antonio Adams wears an elaborate costume to every art opening he attends. Made from felt, glitter, and fabric paint. Antonio calls it his “Art Thing Kingdom Master” attire. A triangular facemask shields the bottom of his face, and on his head he wears a crown. Antonio features himself in this costume in many of his drawings and paintings as well.  He has been diligently building a visual and moral philosophy that has sustained him through a lot of stress and strife, including the untimely death of his mentor and friend, Raymond Thunder-Sky. Clown- and construction-worker-costumed when he journeyed throughout the city, Raymond was a fixture of downtown Cincinnati street-culture for over 20 years. He was an artist who gleaned inspiration both from performance and from drawing the world exactly the way he saw it.  Raymond’s drawings are done mostly in pencil and magic-marker, and depict buildings being torn down and replaced by imaginary facilities with titles like Clown Suit Factories and Card Trick Amusement Parks. Each drawing is organized straightforwardly, with imagery of construction and demolition festooned with a few lines of narration in a careful script. In one archetypal drawing, a movie theatre is gutted, with a wrecking ball suspended above the wreckage, a nearby caption reading: “Last showing at Old Valentine Theatre in Downtown Toledo Will Being Torn Down to Clearing Way for New Ringling Brothers & Barnum & Bailey Circus Store.”

Sky Cubacub, the creator and founder of Rebirth Garments, is a Gender Queer Person of Color who lives and works in Chicago, IL. They first took a chainmaille class from Rebeca Mojica of Blue Buddha Boutique when they were 13 years old. They were drawn to the tactility of the medium, and ended up finishing their project by the time everyone else had only completed an inch. In June 2010, Sky showed Repetitive Motions, a debut collection of eighteen garments.  They used materials such as scissors, aluminum sheet metal, wax, bicycle inner tubes, paper and their first love, chainmaille, with astonishing skill that is a result of obsessive repetitive practice. Their designs are couture in the truest sense of the word, for they create every piece by hand for specific individuals to wear in calculated combinations, an overall vision that is a “portrait” of that individual’s personality. “My interest lies in using the form of the body to hold art. My work is sculpture over fashion”, says Sky. Sky received full tuition Presidential, and Governor’s merit scholarships from the School of the Art Institute of Chicago, where they graduated with a BFA in May 2015. In summer of 2014, Sky started a new line of custom gender non-conforming lingerie, clothing and accessories for people on the full spectrum of gender, size and ability called Rebirth Garments (  Artist statement:  I have always been interested in the strength that chainmaille suggests. I have been building myself this armor or protection, not against harm exactly, but as a way to give me courage. It has given me the strength to be social. Visibility is an important factor in my personal work, which has forced me to get over my shyness. In the same way that makes me less shy, it is also is kind of a crutch. It is my way of meeting people; I never have to approach anyone, because they always approach me first. My chainmaille is a prosthetic for the communication of my inner world. My body, my identity and my prosthesis are one cohesive being.  Everyday is a performance where I bring my body as a kinetic sculpture into the consciousness of the people I interact with in passing and on a daily basis. Clothes are a representation of our culture. It is a personification of an industrialized culture where repetition is used in the service of the assembly line. In my practice, the intensive handwork makes the process the most important part and gives me inspiration. Chainmaille has been the catalyst to every other medium that I excel in; all of the mediums I enjoy are obsessive and have repetitive patterns. Through chainmaille, I have found my patience.  My work is an exploration of different repetitive movements: the opening and closing of jump rings, the up and down movement of the needle, the pulling of a squeegee, and the repeating shapes I cut. This repetitive process is used to create custom made garments, more couture than manufacture. It is perhaps a representation of a culture in transition to a post-industrialized society; one whose emphasis is not the production of goods, but concepts, innovations, knowledge, and service.  Rebirth Garments is my soft armor. My collection challenges mainstream beauty standards, sizeist/ ableist notions and the gender binary. Clothing, especially the foundation garment is the closest thing to your skin, it is your second skin; it changes the way you hold yourself. I consider it armor because it has the power to give you the confidence and strength to feel comfortable in your first skin. Society wants us as QueerCrips to be invisible, to not draw attention, and this is reflected through the clothing options that are available for people with disabilities and undergarments for trans* folks. Rebirth combats this invisibility cloak by refusing to assimilate through a dress reform movement; a politicallyforceful aesthetic style I call “Radical Visibility”. Read my manifesto at

Craig Matis is from Cleveland, Ohio.   “Much of my work, although not all, has pertained to social inclusion/exclusion. In the past, issues such as racism and parenting an autistic child have been addressed.  The circus, in the context of the visual arts, has often been presented as a metaphor for the human condition. The circus is a non-traditional community that has always existed outside the mainstream of society.  With the creation of “Tightrope: Walk the Line”, a wall installation that combines visual art with an original song, the most direct visual approach could have been executed by a much more literal interpretation of the song. However, I chose to come from an entirely different angle by drawing a parallel between the circus world and a group of people that society also looks upon as existing outside the mainstream: the trans* community.  Though much has changed for the trans* community in the last few years, with regard to the public’s awareness, there is still a measure of societal ignorance and discomfort about the struggles these individuals endure to become the people they believe they were always meant to be.  I am not a trans*, but speaking from the perspective of an ally, and based upon readings and interviews I conducted with trans* individuals, I have attempted to express the frustration, anger, and isolation that can often be part of living as a trans* human being through the creation of this work.”

Lindsey M Whittle received a BFA in painting from the Art Academy of Cincinnati in 2007. She taught English as a second language for 1 year in 2009, in a fashion high school in Gifu, Japan. Whittle spent 5 years from 2007-2012, teaching art to youth at Baker Hunt Cultural Art Center in Covington, KY. She continued her education studying fashion at the University of Cincinnati for 3 years from 2009-2012. She then went on to pursue a masters in fashion at the School of the Art Institute of Chicago from 2012- 2014, all while maintaining her position as the “Master Crafter” at Kiki Magazine from 2012- 2015. Whittle is presently co-running PIQUE (art space) with fellow artist Annie Brown, dabbling in costume sewing for Schenz Theatrical, freelancing, and teaching her heart out in sewing and performance art from middle school through college.  Artist statement:  Lindsey M Whittle is performance/fashion/visual artist that uses silliness as a starting off point to collaborate with others and spread good cheer. Whittle tries to set a stage for other great minds to come in and activate her work. Her work is often connected to things wearable and the body. There are almost always elements of play, change, transformation, interactivity and possibility in everything she does. She strives to enrich people’s lives on a simple daily level, therefore the setting for her work functions best in public places where people are. She has worked with bright colored versions of materials such as: fabric, wood, foam, wearable paper, make-up, Velcro, acrylic Plexiglas and more. For contact and/or more information visit

MAKESHIFT: New Show Opens February 28, 2015

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“Makeshift:  New Works by Vincent Gray, Dale Jackson, Patricia Murphy, and Ricky Walker” is one of those shows I totally look forward to at Thunder-Sky, Inc. because I don’t think it could happen anywhere else in town — maybe the universe.  We totally strive to find ways to reconfigure the way art galleries are supposed to be, and the way art shows are supposed to look, so here it is, a show made up of wonderfully disparate visions and focal points, a wide range of demographics, styles, approaches, and we want to take all of that and make a weird little symphony out of it, without losing the wide-ranging weirdness and the particular visions of each artist.  Dale makes art from words; he uses what he hears as a sort of wall-paper to block out meaning and yet also decorate with it.  His word-pictures have a finality and drama and humor no other art does.  He seems focused on language without wanting to know what language is doing, and by doing that he gets rid of the need to talk.  Vince uses pointillism, a style from late 19th Century France, to depict all kinds of vignettes, moments, iconography that both breaks away from that approach and absorbs.  His paintings are funky and also finessed.  Patricia, a graduate of the art academy and a poet as well, uses space and form in ways that revise the way we are supposed to look at things; her sculptures and other works feel both timeless and fragile.  This is Ricky’s first show (one of his works is pictured above).  He draws on 81/2 X 11 pieces of copy-paper, with crayon, the same thing over and over, boxy and urgent, but also somehow soothing, ever-present.  Why the title “Makeshift”?  The sound of it more than the meaning:  art is about making, and shifting the way things are made.  Check all this out last Saturday in February.



4573 Hamilton Avenue Cincinnati, Ohio 45223
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