Two new shows opening at the Handwerker Gallery this Thursday 10/27

By Paul Nicholson, October 24, 2022

Brian Wiggins and Rhonda Wall at the Handwerker Gallery

The Handwerker Gallery at Ithaca College is pleased to present WHAT DID WE GO THROUGH? EVERYTHING HAPPENS AT THE SAME TIME a solo exhibition by Rhonda Wall, and FABRICATIONS, a solo show by Brian Wiggins. Both shows open October 27th with a reception from 5 – 6:30pm, and will be on view through December 7th.  

In the noon hour on October 27th, Rhonda Wall will give a talk about her work and process in the Handwerker Gallery. Wall creates hybrids of factual and fictional subject matter to transport the viewer to another place – an invented world where past, present, and future events merge into one, where everything happens at the same time. 

image card Brian Wiggins and Rhonda Wall at the Handwerker Gallery

Rhonda Wall appropriates images from everyday media that we are bombarded with including printed matter, found internet material, and her own photographs. Works are assembled using carefully arranged images that are augmented with paint. Themes center on anything happening in the public conversation. Technology and nature intersect with feminism, pop icons, scientific breakthroughs, and 60’s space exploration. In the studio, she obsesses over unpredictable and seemingly unrelated events that are happening simultaneously all around us. This results in panoramic scenes that feature stylized figures comprised of dozens of seemingly unrelated images. The resulting work becomes an altarpiece memorializing our news diet. 

The Handwerker’s West Gallery will host Brian Wiggins’ solo show Fabrications, featuring his dynamic and visually disruptive works in oil and acrylic. In the mid-90’s Brian Wiggins was diagnosed with Pigmentary Dispersion Syndrome, a potential precursor to glaucoma. This rare genetic disorder became fuel to engage abstraction from a different angle where he could approach the experience of color and form as structures without a fixed foundation. The result is static experience that appears continually in flux.  

Wiggins’ colorful geometric abstractions possesses an uncharacteristically painterly quality. Although the nature of the work is linear, he thinks of each line as a distinct shape shouldering an adjacent form. By employing seemingly unrelated colors, he disrupts any potential harmony or organization to explore the spaces between colors. When we focus on the boundary, we find that solid forms are destabilized, exposing the fallibility of perception.

Individuals with disabilities requiring accommodations should contact Paul Nicholson at paulnicholson@ithaca.edu or 607.274.3548. We ask that requests for accommodations be made as soon as possible.