By Monique Jones
By Travis Cohen
By Liz Tracy
By Terrence McCoy
By Morgan Golumbuk
By Ciara LaVelle
By Carolina del Busto
By Michael E. Miller
Likewise in his Death of an Artist's Studio, Villalba slings paint with the reckless abandon of someone petrified by fear of impending doom. The painting conveys the aftereffects of a mortar assault on the building materials aisle of your corner Home Depot.
By contrast, Herzog's sculptures of botanical experiments gone awry exude a much less violent sensibility. His Flowering Ivy Shoots climbs against a wall much like a tangle of kudzu and is crafted from a blister of snaking wood and metal triangles melding into abstract tetrahedrons telegraphing a math nut's cranial gear box.
Check out Herzog's Rube Goldberg-esque Lost Flower in Emerald City, in which he peels back the layers on a mystical Oz and creates a schizzy rendition of a science lab rat with a Miracle-Gro fixation. In the piece, test tubes and erupting fiery-gold and crimson petals blaze in a conflagration auguring that nature eternally remains in control over our cravenly, caustic impact on the planet.
For her part, Jaramillo will weigh in this Saturday night with an installation and video referencing her separation from her partner and her mother's recent passing. The work will deal with the sense of loss and grief that brings upheaval to people's lives and can anchor them to an inescapable reality.