Blurbing: Rachel Ballard & Kathleen Sharp

MFA Exit shows at Georgia State University feel like speed dates; each one lasts one Monday-Friday week and there are three going on each week. Last week I found interest in Rachel Ballard’s and Kathleen Sharp’s exhibitions.

Rachel Ballard’s photographs in Asunder had a Martha Rosler effect, with a feminist’s touch. At first glance–AKA before reading any statements–Ballard’s show feels like it has connection to the home with some touches of age-old-stereotypes of the woman-in-home. Her sink covered in grass and filled with ceramic mugs and clay-tinged water strikes me as a connection of home to earth.

Then I found Ballard’s statement. She writes that the focus is on opposites such as familiar/uncanny and attraction/repulsion. While that plays its parts in some pieces, it doesn’t feel like the important part of the show. I noticed a lot more playing within stereotypical domesticity. It felt a bit Alice in Wonderland if she didn’t have all her muchness yet.

Kathleen Sharp’s show At the end of the spectrum next to orange and opposite of violet present iterations of red on variously sized beautiful metallic-seeming pieces. The photographs present ambiguous shapes and objects that suggest corners, walls, and angular objects. Around the same time that I saw Sharp’s show, I was reading Reductionism in Art and Brain Science: Bridging the Two Cultures by Eric Kandel which outlines similarities in abstract art and brain science, as well as explains the brain science behind experiencing art. This book deepened my ability to sincerely appreciate abstract art in general, and was quite timely to experience Sharp’s work. I was engulfed to many shades and tones of red and forced to understand how that made me feel.

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