Name: The Fuel and Lumber Company presents: "8"
Start: 2022-11-4T17:00-5:00
End: 2023-1-14T14:00-5:00

Laney Contemporary Fine Art

info@laneycontemporary.com

1810 Mills B Ln Blvd, Savannah, GA 31405

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Laney Contemporary is pleased to present 8, a group exhibition guest-curated by The Fuel and Lumber Company. This special selection of diverse artists presents no singular voice, but rather a chorus of works by female-identifying artists. In a challenging contemporary moment, with a post-Roe v. Wade reality, the curatorial initiative, The Fuel and Lumber Company takes a broad philosophical, even poetic, approach to curating, placing works next to one another without didactics, but as a way to encourage dialog amongst images and between viewers. Art opens doors by posing questions rather than determining answers and 8 opens up unlimited questions about complexities of identity and control of bodies. The artists were chosen for their distinct visual voices, engaging in cross-cultural dialog, but also for their unexpectedly united harmony.

The number 8, itself a visual symbol of infinity, suggests an array of meanings including the flow of power, a source of good energy, and a strong sense of overcoming. Turned on its side, 8 symbolizes limitlessness, which in the context of this show may remind us of the immeasurable capacity of what art can accomplish and what creative people united can realize. It also suggests the unlimited and undefined possibilities of meanings that can be produced by viewer-participants in dialog with one another.

Time

November 4 (Friday) 5:00 pm - January 14 (Saturday) 2:00 pm

Location

1810 Mills B Lane Boulevard

Savannah

Organizer

Laney Contemporary Fine Artinfo@laneycontemporary.com 1810 Mills B Ln Blvd, Savannah, GA 31405

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04nov(nov 4)5:00 pm14jan(jan 14)2:00 pmPete Schulte: "November 4, 2022 - January 14, 2023"

Event Details

Laney Contemporary is pleased to present Pete Schulte: “November 4, 2022 – January 14, 2023.” With a daily practice of drawing as his compass, Schulte chooses as the exhibition’s title, simply the dates. Dates as titles suggest the way that drawing and thinking, perception, and time are interconnected. Drawing can be seen as a kind of thought-action as drawing precedes the thought and then begins to articulate it visually as a non-verbal space. Drawing as a daily action activates perception as a choice while the word practice insinuates the rigor and intentionality of drawing. Schulte’s works on paper are responsive to the compositional dynamics and poetry of space, the subtleties of light, and the variation available through graphite, ink, and pigment. This selection is interested in the viewer-object dialogue that can open without conditions and without dictation of meaning. It is open to the site-specific, radiating observations that can be made at the edges and in the between-spaces: inferring connections between drawing and building, line and street, feeling and city, perception and the dynamic history of that place. His drawings change depending upon where they are placed. In this way every exhibition of Schulte’s work in context is different from the last.

Ingredients in the work are vast in the way that no one life is a list of components, though we sense the intimacy of scale, nuance of surface, and subtlety of touch. One notices an absence of titles in order to communicate openness, and a directness of experience. This could be seen as cool detachment, but it is more related to the directness of life experienced without explanation. Binary descriptions that limit and define works as either abstraction or representation no longer hold. Schulte’s interest resides within the tangible reality of the drawing space. His work is actively discovered, an investigation of the ever-changing intimacy of light, the breath of color, and the poetry of space as possibility.

His work signals the idea that art is an affirmation of life, a resounding “yes,” and that it is in our power to look, to create open spaces, to experience directly, and to actively engage in the production of meaning for ourselves rather than in accordance with expectations. Wordless interactions often heighten our experiences. These works by Schulte strive to operate outside the realm of language and to create a feeling that perhaps only art can approximate.