the trees the trees the trees
Gereon Krebber, Ann Oren, Robyn Voshardt/Sven Humphrey

January 10 – February 10, 2015

Cindy Rucker Gallery is pleased to present the trees the trees the trees, a group show exploring the evolution of landscapes and the relationship between humans, nature and human nature.

Classical landscapes sought to evoke an ideal; an idyllic vista that could inspire. After Courbet pushed the boundaries of landscape by introducing a tactile experience alongside the visual, more sensory art began to emerge. Although it’s changed much in form and experience, the landscape continues to be a subject artists turn to when contemplating the ways we relate to the places where we live and how we relate to what is natural.

Gereon Krebber gently undermines our preconceived view of the world and the preconception of things, but in a way that is very determined and highly effective. His untitled sculpture composed of cement, a traffic cone and a broken windshield combine to create something that feels like granite from afar and yet is reminiscent of a car wreck up close. Coupled with his gnarly melted tape and spray paint pieces, Krebber has successfully recreated a terrible news story. Here, Krebber’s adept use of unorthodox materials give his viewers an experience that can either be welcoming or off-putting.

Ann Oren’s work reacts to our culture of performativity, exploring the line between exhibitionism, voyeurism and spectatorship. Her piece Congratulations! You are Still in the Running for Becoming! (2014) depicts trees and bushes as contestants on a non-specific competitive show with text taken directly from reality shows such as The Bachelor and The Real Housewives series. By highlighting dialogue from casual interactions, Oren questions the idea of nature and humanity, not only how we relate to our surroundings, but to each other.

Robyn Voshardt/Sven Humphrey are artists that add a new lens to classical themes. Their piece Eternal Return (2009) contemplates an intensive five-part study on how we form aesthetic and cultural judgements about landscape. Its repeating images of water falling on rocks is contemplative and tranquilizing, continually shifting from one to the other. An exploration of time, patience and suspended expectations, it raises the question of whether the pursuit of the sublime in nature is still able to elicit a satisfying visceral response.