Channel To Channel

"PRLS-1000" is part of Eric Mack's urban grid series. Using a grid to create the framework of the painting, Mack creates movement across the piece with dynamic techniques of washy underpainting underneath matted pieces of paper, and thread. His paintings have been described as "intellect on top of emotion." Eric Mack (b.1976, Charleston) creates mathematically based renderings with a distinct post-modern twist. Works are informed with super imposed grids, patterns, and portals. Layered surfaces are created with paint, found objects, natural fibers, and synthetic substrates that explore the systems of our visual world. His most recent show “Charting the Terrain” is on view now at the California African American Museum in Los Angeles was covered by the Los Angeles Times, KCRW, and LALA Magazine. His last solo exhibition was titled "Impossible Architectures" at The University of North Carolina...

PVB-7600 is part of Eric Mack's ongoing body of work utilizing multi-media, complex compositions, and a grid centered around urban design. Using a grid to create the framework of the painting, Mack has utilized paper adhered by a matte medium to create graphic imagery of text and color blocks on top of a canvas dyed in ink. This painting is gallery wrapped with canvas on top of stretcher bars. Mack's paintings have been described as "intellect on top of emotion". Eric Mack (b.1976, Charleston) creates mathematically based renderings with a distinct post-modern twist. Works are informed with super imposed grids, patterns, and portals. Layered surfaces are created with paint, found objects, natural fibers, and synthetic substrates that explore the systems of our visual world. Collections include High Museum Atlanta...

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In this work, Michelle Weddle utilizes line, color, and form to create a painting which acts at the balance between the nonobjective and representational. Using organic, elliptical s...

JOSHUA EDWARD BENNET lives and works in New Orleans, LA. He received his MFA from Tulane University in New Orleans, LA in 2019 with a concentration in digital arts. Bennett received ...

This C-Print by Sarah Hobbs is part of a series included in her show "Twilight Living," at Channel to Channel. In this photograph, an electric box with several protruding wires is ce...

Jessica Gatlin uses the process of letter pressing to create these pieces on paper that have been mounted to a small panel. An exercise in language and rule making. Partly intuitive,...

In "Holes and Slices", Peña creates a silhouette of house and fills it with bubbly curved shapes and contrasts them with sharpe-edged shapes that contain gradients and muted tones of aqueous colors such as teal and light blue. He balances these colors with muted tones of pink and violet. The viewer can create a house that is yet to be built in between the gaps here. In "Holes and Slices", Peña remarks on a house and landscape that has yet to be built. The aquatic nature seems to hint at the possibility of a house and landscape under water. The painting is created with watercolor and acrylic paint on paper. In the foreground we see Sintra board or flattened PVC that has been CNC routed. In the "soil" beneath the house are small bubble-like cut outs where the viewer can see through to the pattern created with watercolor and acrylic paint. Peña’s works range from painting to multimedia installations that question the ever-changing psychological landscape of America; asking the viewer to re-examine their perceptions of the “American Dream” and the affects that pursuit has on our environment and national psyche. The realization that both the idealistic pursuit of happiness and the relevance of painting in a technologically driven world informs his practice. With each composition the labor begins with digital composites of a fragmented American landscape in peril —where tension lies in the contrasts between past and present, analog and digital, representation and abstraction, and stability and instability. In his most recent series the American home (stability) and fragmented and shifting landscape (instability) are veiled by a digitally produced mat. Traditionally a mat is, by definition, a flat, thin piece of paper based material included within the picture frame and serves as additional decoration when framing artwork. He activates this commonly overlooked material by using a non-traditional material, Sintra (flattened sheet of PVC), that has a negative digitally drawn image cut-out. This cut-out might, at first glance, look hand cut however, a more astute viewer would realize the precision is mechanical. The mat has been transformed from inactive decoration to digitally produced veil that represents the technologically anxious precision we surround ourselves with. Nick Peña...