Visual Art Source Reviews Maggie Taylor's Current Exhibition

May 2, 2018

Maggie Taylor
Catherine Couturier Gallery, Houston, Texas
Recommendation by Donna Tennant


Maggie Taylor, “First the Fish Must Be Caught” from “Through the Looking Glass,” 2017, pigmented digital print

Continuing through May 12, 2018

While initially studying philosophy at Yale University, Maggie Taylor began her interest in photography during her sophomore year. Later, while pursuing her MFA in photography at the University of Florida, she would arrange and shoot intricate still lifes as subject matter. Upon discovering Photoshop, however, her creative life changed. She began moving away from the camera and by 1996 had abandoned it completely, using a light-sensitive scanner instead. Three decades later, Taylor is known for her haunting and compelling digital prints. In 2008 she published her version of “Alice’s Adventures in Wonderland,” 45 illustrations accompanying Lewis Carroll’s original text. Her latest work, “Through the Looking Glass,” is the sequel to that series. Like Carroll’s books, published during the Victorian Era, Taylor’s pieces allude to the 19th century, utilizing tintype and ambrotype portraits from that period in the images. In “Through the Looking Glass, and What Alice Found There” (1872), Carroll returns Alice to the fantasy world by walking through a mirror. Taylor’s series includes many characters from the book, including Tweedledum and Tweedledee, the Red King, White Queen, Humpty Dumpty, the Lion and the Unicorn.

“They’re at it Again” depicts a fight between the Lion and the Unicorn, which are symbols of the United Kingdom, with the lion representing England and the unicorn Scotland. In the book, Alice is crowned queen, and in Taylor’s “Through the Looking Glass” and “And What Alice Found There” Alice is shown wearing a crown. Many of the book’s personalities appear in “The Feast,” including a walrus, the lion and the unicorn, a king, two queens, and a masked crow. As the book ends, Alice awakens to find her kittens on her lap. The black kitten and white kitten appear in several of Taylor’s prints as well and, according to Alice, they represent the Red Queen and the White Queen. Taylor frequents flea markets, antique shops, online auctions and her own backyard to collect artifacts for her work, including taxidermy specimens, mounted insects, vintage toys, sea shells, feathers, eggs and nests. She uses original photographs to create the backgrounds, which often include a body of water or a river. Creating the final prints is a painstaking process that requires the manipulation of multiple layers of digital images over weeks or months, as Taylor persistently pursues perfection. The results are ambiguous scenarios that are part daydream, part nightmare, and always fascinating.

New Work By Susan Burnstine

Apr 26, 2018

Catherine Couturier Gallery is excited to announce that gallery artist Susan Burnstine has officially released new images from a brand new body of work titled Where Shadows Cease. While she is still portraying her dream-like visions using handmade film cameras, she is now introducing the element of color to her work for the very first time. Please take a moment to view and enjoy this collection of newly released photographs.

 

                                   Where Shadows Cease

 

Susan Burstine, Southbound

Southbound
Archival pigment ink print, varnished
12 x 12 inches, edition of 15: $1,100
16 x 16 inches, edition of 15: $1,600

 

Susan Burstine, Daybreak Grant Street

Daybreak Grant St.
Archival pigment ink print, varnished
12 x 12 inches, edition of 15: $1,100
16 x 16 inches, edition of 15: $1,600

 

Susan Burstine, Into the Headlands

Into the Headlands
Archival pigment ink print, varnished
12 x 12 inches, edition of 15: $1,100
16 x 16 inches, edition of 15: $1,600

 

Susan Burnstine, Rain Over Abiquiu

Rain Over Abiquiu
Archival pigment ink print, varnished
12 x 12 inches, edition of 15: $1,100
16 x 16 inches, edition of 15: $1,600

 

Susan Bursntine, Across S.R. 154

Across S.R. 154
Archival pigment ink print, varnished
12 x 12 inches, edition of 15: $1,100
16 x 16 inches, edition of 15: $1,600

 

Susan Burnstine, East of State St.

East of State St.
Archival pigment ink print, varnished
12 x 12 inches, edition of 15: $1,100
16 x 16 inches, edition of 15: $1,600

 

Susan Burnstine, Departure

Departure
Archival pigment ink print, varnished
12 x 12 inches, edition of 15: $1,100
16 x 16 inches, edition of 15: $1,600

 

Suan Burnstine, Lost Highway

Lost Highway
Archival pigment ink print, varnished
12 x 12 inches, edition of 15: $1,100
16 x 16 inches, edition of 15: $1,600

 

Susan Burnstine, Across Old Albion Road

Across Old Albion Road
Archival pigment ink print, varnished
12 x 12 inches, edition of 15: $1,100
16 x 16 inches, edition of 15: $1,600

 

Susan Burnstine, Crossing West

Crossing West
Archival pigment ink print, varnished
12 x 12 inches, edition of 15: $1,100
16 x 16 inches, edition of 15: $1,600

 

 

                                         Absence of Being

 

Susan Burnstine, Beacon Hill 4:28pm

Beacon Hill 4:28pm
Archival pigment ink print, varnished
12 x 12 inches, edition of 15: $1,000
16 x 16 inches, edition of 15: $1,500

 

Susan Burnstine, Beacon Hill 4:28pm

Lake Union, 3:16pm
Archival pigment ink print, varnished
12 x 12 inches, edition of 15: $1,000
16 x 16 inches, edition of 15: $1,500

 

Susan Burnstine, Public Market Small Ferry

Public Market Small Ferry
Archival pigment ink print, varnished
12 x 12 inches, edition of 15: $1,000
16 x 16 inches, edition of 15: $1,500

 

 

Where Shadows Cease Artist Statment:

I have always dreamt in black and white. Until recently.   
 
The rare percentage of people who have been documented to dream in black and white were either born prior to the rise of color television or had no access to it.  And those exposed to color television dream in color.  I’m an anomaly.   I was born the year broadcast television transformed to “living color” and witnessed monochrome programs magically transform into reds, greens, yellows and blues. I was awestruck by the implausible appearance of these vivid hues, which became imbedded in my memory as the most perplexing and fantastic canvas of my childhood. What’s more, my family owned a television business and a Zenith Chromacolor TV blazed in every room of our home. Yet still, I viewed the world in black and white.   
 
My colorless reality was cemented at the age of four when I suffered a trauma that sparked years of severe night terrors. These debilitating nightmares dissipated in my teens, but as an adult returned following the tragic death of my mother. In attempt to cope with my loss, I replicated my unconscious monochrome visions on film using a collection of hand-made cameras and lenses that are frequently unpredictable and technically challenging. The cameras are primarily made out of plastic, vintage camera parts and random household objects and the single element lenses are molded out of plastic and rubber. Learning to overcome their extensive limitations has required me to rely on instinct and intuition – the same tools that are key when trusting in the unseen.  
 
In the wake of unimaginable events, a mirage of “living colors” has bled into my monochrome realm.  Have I surrendered to a distant truth? Escaped reality? Or both?  The answer lies deep within my dreams. 

 

 

For questions, purchases, or inquiries

Libbie Masterson "Spectrum" Opening at the Jung Center

Mar 29, 2018

Libbie Masterson Spectrum

Please join Libbie Masterson at the opening of
SPECTRUM

an installation by Libbie Masterson

Saturday April 7, 2018   5-7 pm

with a brief artist talk and performance at 5:45
with the ROCO Collaboration

The Carl Jung Center
5200 Montrose

Exhibition will be on view April 3-28

 

Libbie Masterson Kalidescope


Support this exhibition, and you will receive your own Kaleidoscope!


  Libbie has created a fundraiser to off-set the costs of this exhibition, and is building Kaleidoscopes using the glass from the mosaics in the installation.  They are beautiful!  You can reserve one by contacting us at gallery@cathreinecouturier.com, or purchase one in the Jung Center Book Store.  Funds will go directly to this exhibition.  
$50 each.

 

Thank you, Libbie