Rock Painiting I

Nicky BROEKHUYSEN

ROCK PAINTING I

2015

Digital Pigment Print on Hahnemühle Photo Rad Satin Paper

11 3/4 x 17 3/4 inches

30 x 45 cm

Edition 1/3, 1

Signed, dated and numbered verso

Rock Painting III

Nicky BROEKHUYSEN

ROCK PAINTING II

2015

Digital Pigment Print on Hahnemühle Photo Rad Satin Paper

11 3/4 x 17 3/4 inches

30 x 45 cm

Edition 1/3, 1

Signed, dated and numbered verso

Rock Painting III

Nicky BROEKHUYSEN

ROCK PAINTING III

2015

Digital Pigment Print on Hahnemühle Photo Rad Satin Paper

11 3/4 x 17 3/4 inches

30 x 45 cm

Edition 1/3, 1

Signed, dated and numbered verso

Rock Painting V

Nicky BROEKHUYSEN

ROCK PAINTING V

2015

Digital Pigment Print on Hahnemühle Photo Rad Satin Paper

11 3/4 x 17 3/4 inches

30 x 45 cm

Edition 1/3, 1

Signed, dated and numbered verso

In The Morning

Nathan CATLIN

IN THE MORNING

2016

Woodblock print (ink on paper)

24 x 36 inches

61 x 91.4 cm

Edition 1/3

Signed and dated

The Tempter

Nathan CATLIN

THE TEMPTER

2016

Woodblock print (ink on paper)

24 x 36 inches

61 x 91.4 cm

Edition 1/3

Signed and dated

As Above, So Below III

Neil HAMON

AS ABOVE, SO BELOW III

2015

Palladium and Gold Leaf on Canson Baryta Giclee Print

10 x 8 inches

25.4 x 20.3 cm

Signed and dated

As Above, So Below V

Neil HAMON

AS ABOVE, SO BELOW V

2015

Palladium and Gold Leaf on Canson Baryta Giclee Print

10 x 8 inches

25.4 x 20.3 cm

Signed and dated

UT.1.16

Sam MESSENGER

UT.1.16

2016

Ink and graphite on paper

15 x 11 inches

38 x 28 cm

Signed, titled, and dated verso

UT.2.16

Sam MESSENGER

UT.2.16

2016

Ink and graphite on paper

15 x 11 inches

38 x 28 cm

Signed, titled, and dated verso

UT.3.16

Sam MESSENGER

UT.3.16

2016

Ink and graphite on paper

15 x 11 inches

38 x 28 cm

Signed, titled, and dated verso

UT.4.16

Sam MESSENGER

UT.4.16

2016

Ink and graphite on paper

15 x 11 inches

38 x 28 cm

Signed, titled, and dated verso

UT.5.16

Sam MESSENGER

UT.5.16

2016

Ink and graphite on paper

15 x 11 inches

38 x 28 cm

Signed, titled, and dated verso

Abstract #6

Boo SAVILLE

ABSTRACT #6

2016

Ink on paper

18 1/2 x 15 1/3 inches

47 x 39 cm

Signed, titled, and dated verso

Abstract #7

Boo SAVILLE

ABSTRACT #7

2016

Ink on paper

18 1/2 x 15 1/3 inches

47 x 39 cm

Signed, titled, and dated verso

Abstract #9

Boo SAVILLE

ABSTRACT #9

2016

Ink on paper

18 1/2 x 15 1/3 inches

47 x 39 cm

Signed, titled, and dated verso

Abstract #11

Boo SAVILLE

ABSTRACT #11

2016

Ink on paper

18 1/2 x 15 1/3 inches

47 x 39 cm

Signed, titled, and dated verso

Abstract #12

Boo SAVILLE

ABSTRACT #12

2016

Ink on paper

18 1/2 x 15 1/3 inches

47 x 39 cm

Signed, titled, and dated verso

Abstract #13

Boo SAVILLE

ABSTRACT #13

2016

Ink on paper

18 1/2 x 15 1/3 inches

47 x 39 cm

Signed, titled, and dated verso

Crowd I, 1971

Thomas WITTE

CROWD 1, 1971

2015

Hand-cut archival paper

12 x 11 inches

30.5 x 27.9 cm

Signed and dated bottom right

Crowd II, 1971

Thomas WITTE

CROWD II, 1971

2015

Hand-cut archival paper

12 x 11 inches

30.5 x 27.9 cm

Signed and dated bottom right

Crowd III, 1974

Thomas WITTE

CROWD III, 1974

2015

Hand-cut archival paper

12 x 11 inches

30.5 x 27.9 cm

Signed and dated bottom right

Davidson Contemporary presents the summer exhibition Totally Suite, a group show featuring serial work from Nathan Catlin, Sam Messenger, Boo Saville, and Thomas Witte. Each artist has made a series of work and, though each individual work was made with its own intention, the collection of each presents a linear view of the artists’ manufacturing techniques and artistic vision.

Nicky Broekhuysen's photos depict paintings that she made on rocks in the South African landscape. The paintings themselves are based on the ancient practice of rock painting used by the indigenous San Bushmen. The photos explore the definitions of mark-making while preserving the sanctity of the ritualistic meaning it references.

 

Nathan Catlin’s work follows a fictional narrative arc and, whether a woodcut or painting, provides allegorical clues as to the meaning of the work. Those meanings are manifold and emerge slowly and mysteriously out of the work, both singularly and as a duo.

Neil Hamon uses photographs of basketball players from the 1930s and 40s as his base for this suite. He removes the numbers and letters from their uniforms, fading out the spectators, and then applying platinum and gold leaf in a traditional technique often seen in religious works. However, in this secular setting, the combination of the bursts of light and the anachronistic  figures creates a tension and expectation of the unknown.  
 

Sam Messenger’s suite of drawings uses only straight ruled lines to create the illusion of curved, even moving shapes. Relying only on the different angles and thickness of each line, Messenger’s small drawings achieve a mesmerizing effect.
 

Boo Saville’s watercolors can seem as though each is a single color at first. However, as the viewer spends time looking, the colors appear to fade in and out, and to shimmer as the transitions between hues subtly shifts under Saville’s masterful hand.
 

Thomas Witte has based his suite on found 35mm slides of airports form the 1970s. The close-ups of anonymous groups of people waiting on the runway harken back to a more romantic time of air travel, while also pointing out the obsolescence of his source material.