Author: Chloe Ghillani

Dana Hemenway featured in 48 Hills, “Fall Arts Preview: 10 can’t miss art shows”

FALL ARTS PREVIEW Gallery season leaps into fall affect this week: Check out arts writer Matt Sussman’s picks for enlightening, expanding experiences.  

Dana Hemenway: Differently Structured Possibilities at Eleanor Harwood (Sept 7 – October 26)
Approaching materials commonly found at the hardware store (extension cords, ropes, light bulbs) with a fiber artist’s hand, Dana Hemenway creates woven sculptures that are both a part of and hang apart from their built surroundings. At once abstract and oddly tender, Hemenway’s work creates visual poetry out of the frequently hidden circuitry that surrounds us.

Link to Post: http://https://48hills.org/2019/09/fall-arts-preview-art-shows/

 

Tiffanie Turner “California Homes” April 2019

Tiffanie Turner’s upcoming Solo Exhibition is featured within California Homes, in the April 2019 edition.

ELEANOR HARWOOD GALLERY- San Francisco “What Befell Us” is a new body of large scale botanical sculpture created by Bay Area artist and author Tiffanie Turner. This new work is a continuation of Turner’s meditations on our tolerance of aging and imperfection, on what we consider ugly and what we consider beautiful, and on the high costs to our society and our natural environment of these pursuits.

Charles Desmarais in DATEBOOK Reviews William Swanson’s “Florascape”

Read Full Review Here

November 29th, 2018

By Charles Desmarais

Drift and slope. William Swanson’s new paintings are deceptively easy to like. His exhibition “Florascape,” at Eleanor Harwood Gallery through Dec. 15 (1275 Minnesota St., S.F. http://eleanorharwood.com), feels a bit like a walk through a mirror universe to ours, a place where nature is somehow mathematically rationalized.

 

Alumina Drift, acrylic on panel, 47 x 74 inches, 2018, Photography by Shaun Roberts

 

The 6-foot-wide “Alumina Drift” takes center stage among 11 semi-abstract landscapes that fairly glow with a light of crystalline purity. It sets us at the edge of a vast scene of mountain and lake — a vista of what lies before us and also, impossibly, above us, held aloft by a network of misty ribbons. In “Operational Slope” we glide among structures made up of no more than lines and wings, above a broad valley.

 

 

Operational Slope, acrylic on panel, 34 x 38 inches, 2018, Photography by Shaun Roberts

 

An implied grid underlies every picture, bringing rigid structure to what was wild. To propose that the world can be so controlled is not the same as to say that it is safe.