Woodstock Artists AssociAtion & MuseuMSOLO GALLERY MAy 11 - June 9, 2019ARTIST Q&A saturday, May 18, 3 PM RECEPTION saturday, May 18, 4-6 PM

Christina Tenaglia: A tree is not a pile

Untitled, 2019, porcelain, ink, paint, wood, screws

1. Untitled, 2019 monotype, $600

2. Untitled, 2019 monotype on Fabriano tiepolo $600

3. Untitled, 2019 paint, wood, screws $1,800

4. Untitled, 2019 stoneware, wood, screws $1800

5. Untitled, 2019 ink and watercolor on paper $400

6. Untitled, 2019 polyester plate lithograph, edition of 2 $600

7. Untitled, 2019 porcelain, ink, paint, wood, screws $1,800

8. Untitled, 2019 ink, paint, wood, screws, nails $1,400

9. Untitled, 2019 monotype on Fabriano tiepolo $600

10. Untitled, 2019 ink, paint and graphite on paper $700

11. Untitled, 2019 monotype on somerset $600

12. Untitled, 2019 monotype on rives BFk $600

13. Untitled, 2019 monotype on somerset $600

14. Untitled, 2019 monotype on rives BFk $600

15. Untitled, 2019 monotype on somerset $600

16. Untitled, 2019 monotype on rives BFk $600

17. Untitled, 2019 monotype on Fabriano tiepolo $750

18. Untitled, 2019 monotype on Fabriano tiepolo $750

19. Untitled, 2019 monotype on Fabriano tiepolo $750

20. Untitled, 2019 monotype on Fabriano tiepolo $750

21. Untitled, 2019 monotype on Fabriano tiepolo $750

22. Untitled, 2019 earthenware, glaze $1,800

23. Untitled (two), 2019 earthenware and ink, dimensions variable $1,800

24. Untitled, 2019 monotype on somerset $750

25. Untitled, 2019 earthenware, ink, paint, wood, screws $1,800

26. Untitled, 2018 porcelain, wood, ink, screws $1,800

27. Untitled, 2019 ink, paint, wood, screws, nails $1,800

28. Untitled, 2019 marble, ink, wood, screws, dimensions variable $1,800

29. Untitled, 2018 porcelain, ink, wood, screws $1,400

2019 solo show Artists were juried by Anastasia James Associate curator at the Lucas Museum of Art and Former curator of exhibitions and Programs, samuel dorsky Museum of Art, suny new Paltz.Founded 1919, Woodstock Artists Association & Museum,

28 Tinker Street, Woodstock, NY 12498845 679 2940 | woodstockart.org

EXHIBITION CHECKLIST

Christina Tenaglia: A tree is not a pile

ABOUT THE ARTIST

christina tenaglia has had close ties to the Hudson Valley since graduating from Vassar college. she holds an MFA from yale university school of Art, has been the recipient of a nJ state Arts council Fellowship Award for sculpture, and has received fellowships for residencies at the Macdowell colony, i-Park, and catwalk. in 2011, she was awarded the W.k. rose Fellowship in the creative Arts, marking a change in her studio practice that would eventually bring her back to the Hudson Valley. in 2018, she was the recipient of a purchase award grant from the American Academy of Arts and Letters invitational exhibition. she is currently a Visiting Professor at Vassar college, teaching sculpture, drawing and printmaking. she lives and works in saugerties, ny.

christina tenaglia’s work will be also be included in the upcoming Madness in Vegetables exhibition at the samuel dorsky Museum of Art at suny new Paltz opening this June.

these works are deliberately straightforward, analog, using materials that are worked on and put together simply, without mystery or coding. i am interested in how we take in and process information. At a time when information is overwhelmingly ever present - and yet substantially insufficient - these works are deliberately offering less. tied to day-to-day surroundings, they seem familiar but are not easily placed, taken out of context. they are themselves, not representational illusions.

i am interested in a process of seeing that wildly fluctuates between extremes: an overwhelming need to limit information, paring everything down, and a heightened sense of looking - looking both for and intensely at things. Here, in the woods, the seemingly quiet is contrasted with daily change and an underlying energy that is overwhelmingly all around - a reminder that we are on a threshold in between the wild and the manicured, never really present in either place. the presence of extreme light is followed by extreme dark, sometimes existing simultaneously in the openings and fissures of nature (and culture) that only offer us glimpses of its underbelly. The visual language of my work has shuffled from a somewhat measured man-made geometry to a more slippery array of visual marks and elements, lights and darks. it is an impure abstraction. i am interested in shaping perceptions of everyday situations. the viewer is responsible for the narrative, if there is one.

scale ricochets from object to vast space and back. there is an ongoing negotiation of multiple structures: the underneath, base, or background, and the foreground, painting, or drawing. one is not more important than the other - they are linked, chunked, and joined to affect how every other element is perceived. Minimally three dimensional, minimally assembled, and minimally depicted, the situations reveal themselves simply: next to, on top, beneath, in front, behind.

Many of the moves i make, while simple, are slow, deliberate, and painfully thought through. My practice is rife with failure. these works exist in a state of constant doing and undoing, building up and taking apart, breaking and starting again. it is the destroying of what i have done and the decision to stop that is fast. that is the improvisational part. it keeps me in a state of heightened observation while working - i often stop short of where i thought i would, but far past the original plan. i am looking for how little information can i offer and still have a work do something.

Images (clockwise from left):

Untitled, 2019, monotypeUntitled, 2019, monotypeUntitled, 2019, monotypeUntitled, 2019, monotypeUntitled, 2019, earthenware, glaze

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