For the fall season, Carl Solway Gallery
presents three solo exhibitions of artwork incorporating light, motion, video projection and various forms of technology. Erwin Redls exhibition, featuring work from 2010-2015, includes an installation composed of digitally controlled LED light sculptures, kinetic sculpture, drawings and prints. Pascal Dufaux builds kinetic sculptures incorporating video cameras, ceramic, metal and glass that he refers to as Alien Forms. Rachel Ramplemans exhibition consists of two experimental projected videos: Busby Berkeley 2.0, from 2014 and Water/Light Study, from 2015 and another looped video on a traditional monitor.
Erwin Redl, an Austrian-born artist based in Bowling Green, Ohio and New York City, is best known for large-scale light installations for art museums, public buildings and corporations. His work transforms the medium of light into immersive, tangible experiences for viewers. His architectural environments translate complex mathematical algorithms and other methods inspired by computer code into contemplative, minimalist spaces further activated by his use of motion and rhythmic sequencing.
His exhibition at Carl Solway Gallery includes work in various media from the last five years. The light installation, Benchmark, composed of grids of LEDs, continuously changes density and color. Three new light sculptures titled Dial white-red, white-blue, a new edition published by Carl Solway Gallery, are being shown for the first time. The kinetic sculpture, Ascension (line 24), features glass tubes, LEDs and ping pong balls, creating a humorous sound and light event. Redl also produces two-dimensional work and the exhibition includes a suite of drawings and several prints from the series CNC Palimpsest. These prints are made by inking the horizontal bed of the CNC Router machine that the artist uses to fabricate much of his sculpture. Redl treats this machine bed much like a printmaker treats a lithographic stone or etching plate. The resulting prints trace the schematic evidence left behind by the machines milling path.
Cincinnati viewers were introduced to Redls work In the Spring of 2015, when he developed the installation Cincinnati Swing for the Contemporary Arts Center. Composed of hundreds of swinging LED lamps, the installation covers the entire urban carpet of the Zaha Hadid building, from the lobby up to the sixth floor. His work is internationally exhibited and permanently installed in locations in San Francisco, New York City, West Hollywood, Seattle, St. Louis, Toronto and Istanbul, among others. His installation Matrix VI lit the face of the Whitney Museum of American Art during the Whitney Biennial 2002. Public collections include the Museum of Contemporary Art, San Diego; Milwaukee Art Museum; and Whitney Museum of American Art, New York.
Erwin Redl was born in 1963 in Gföhl, Austria. He studied composition and electronic music at the Music Academy in Vienna. In 1993, he moved to the United States and in 1995 he earned an M.F.A. in Computer Art from the School of the Visual Arts in New York City.
Pascal Dufaux builds what he refers to as Vision Machines, rotating kinetic sculptures incorporating video cameras and projections. Their roving eyes record the world around them in real time and then project the imagery onto the surrounding walls. The exhibition includes Vision Machine #5: Probe, three pieces from the series Vanities and a group of small works titled Alien Forms. Vanities consist of video surveillance cameras enclosed in biomorphic sculptural forms. Glass and crystal chandelier parts hang in front of each camera lens. The point of view of the camera is then displayed on a mini flat screen. Mixed-media, small-scale sculptures comprise the series Alien Forms. They are displayed on a shelving unit, forming a cabinet of curiosities.
Dufaux was born in France and resides in Montreal, Quebec, Canada. He studied set design and the visual arts. His work has been presented in venues across Canada, Mexico and Europe including the exhibition Paranoia, which was shown in Creteil, Maubeuge and Lille, France; Instants Video in Marseilles; Mapping Festival in Geneva; and the International Digital Arts Biennial in Montreal.
Rachel Rampelman primarily works with time-based media and her videos explore subjects as varied as gender, artifice and spectacle. She frequently showcases strong female personalities, such as bodybuilders and women in hair metal tribute bands, who challenge common notions of femininity. From a series of videos titled Burlesques/Showgirl Studies, Busby Berkeley 2.0 transforms and abstracts the birds-eye views from an example of Busby Berkeleys cinematic choreography. Water/Light Study focuses on the more reflective and contemplative side of her work. Many of her pieces exhibit a hypnotic quality characterized by repetitive motion and symmetrical patterning, such as with Bellmer Burlesque.
This spring, CEPA (The Center for Exploratory and Perceptual Art) in Buffalo, New York presented a major survey of Ramplemans work titled Babys on Fire. Her work has been shown and screened in numerous New York locations including the Brooklyn Academy of Music, Socrates Sculpture Park, the Governors Island Art Fair and The Samuel Dorsky Museum of Art. Internationally, her work has been shown at the Shanghai Biennale (Brooklyn Pavilion); JAM in Bangkok, Thailand; throughout Europe at Art Cinema OFFoff; and the Secret Cabinet in Berlin. She is a native Cincinnatian who holds a B.F.A. from the University of Cincinnati, College of Design, Architecture, Art and Planning and received an M.F.A from New York University. She currently lives and works in Brooklyn and Esopus, New York. In addition to her artwork, Rampleman is engaged in curatorlal projects in alternative spaces in the New York area.