Tag Archives: Teri Dryden


Teri Dryden, “the zen of things” at B. Deemer

Without saying as much, the concepts in Teri Dryden’s exhibition relate to a fairly elusive phenomenon in Japanese aesthetics known as wabi-sabi. Often associated with tea ceremonies (and their utensils) and flower arranging, the concept is concerned with aspects design that seem impermanent or unfixed. The ideas of wabi-sabi can be variously described, but a productive definition, especially for this show of works, might be its concern with the traces of borders between being and non-being, finished and unfinished, beautiful and ugly.

Installation view, Teri Dryden, “the zen of things”, B. Deemer Gallery, Louisville.

If this seems ambiguous or even cagey, that’s much of the point. To this end, the vagueness concerning the ideas explored in Dryden’s paintings and collages finds a strange cohesion in its conception as a single body of work. This is best reflected in the two walls of small paintings and collages that occupy most of the exhibition’s space. Like its title, rendered without capital letters, the exhibition is an informal gathering of pieces and parts. The haphazard arrangement of these objects can’t be taken as accidental, nor should it. Instead the arrangement can be thought of as an extension of the tensioned elements present in each of Dryden’s collages.

Several pieces find direct and immediate application. One note: except for the few large paintings, no other works are displayed with their titles, a choice that makes the installation more (and purposefully) elusive. So, these “countless” smaller works are free to play with one another in diptych, triptych, and also individually. One vertical triptych includes green and orange patterned cut paper pasted over various other scraps. These squares end up being both abstract arrangements and blocky landscapes. Irregularly cut rectangles function as simple shapes and what appear to be roofed huts or houses. A nearby horizontally oriented set shows an image that is probably a photograph of distant mountains and fields. This is framed by very stylized illustrations of tree branches peppered with red berries. In these combined images (that is, combined from bits of different materials and types of images) the contrast between the pieces creates a somewhat anxious tension between figuration and non-figuration.

Installation view, Teri Dryden, “the zen of things”, B. Deemer Gallery, Louisville.

The overtness of this collaging of differences provides another layer of interest (no puns here). The fact that the pieces of paper Dryden put together play both as bits of paper and as the elements of new images seems important to the overall project. The conflict of difference plays a large role in what makes these pieces work. Within the works as well as among them, unresolved difference creates a space where the unsettled nature of art works to its benefit rather than detriment.

There’s the small square collage whose layers are comprised of paper crushed and pushed into rippling strata peppered with Japanese text. Another layer of materiality played against smoothness or cohesion. Or there’s instances of text, especially Japanese illegible to an English-speaking audience, transformed into its graphic components of line and shape. Or there are several works with frames made from both infinitesimally thin paper and much thicker wood covered in patterned fragments set next to those whose paper nearly tumbles over the edges. There are even several pieces, like one with a frenetically rendered bird’s nest with eggs, that seems curiously stuck outside the continuum of objects on the walls. This is one of the few overtly figurative pieces, and it hangs apart in its specific uniqueness.

Installation view, Teri Dryden, “the zen of things”, B. Deemer Gallery, Louisville.

Again, the various tensions between so many differences are what make Dryden’s project compelling. Even the difficulty in discussing the individual pieces gives the exhibition this interest. Without titles, the small works aren’t singled out or placed into the relief of this or that. Again it’s more vague than that. The poles of “this work” versus “that work” give way to a network where even the triptych and diptych groupings are suggestions of context. So within the single work or all the works is a web of playful ambiguity.

Installation view, Teri Dryden, “the zen of things”, B. Deemer Gallery, Louisville.

To speak more on the microcosm of the individual piece warrants a look at a few unassuming works that can be lost among the entire installation.  Some very close and introspective observation reveals a bit more about the ways Dryden’s process of layering incorporates the spectrum of material possibilities. Several such possibilities are on display in a small rectangular work with stone gray paper across one corner, white paint and graphite across its opposite corner, and semi-transparent pieces of paper filling the middle. On these middle pieces, the layered effect is emphasized by pencil diagrams, those below still visible through the pieces of paper placed over them. There is little apparent to their previous purpose: now they only reveal the subtle depth possible when materials are placed on top of each other. The collage of these found fragments gives them new context while those old contexts, still visible, remain playfully suggestive. It’s within these tiny complexes that wabi-sabi appears yet remains playfully obtuse.

To bring things back to the beginning (or perhaps the end as well), the fragmentary nature of Dryden’s works finds itself incorporated into the largeness of the displayed paintings. The effect is obvious, to the point of exaggeration. Three tiny squares climb the wall diagonally towards the edge of a much larger painting titled Begin Again. Inside the painting, along this path, appears a squared of paper fragments, themselves bits of a larger collection of paper and paint layers that spans the entirety of the canvas. Walls and paintings become the same surface. Yet they also retain their distinct differences. Held in a fragile suspension, Dryden’s exploration of materials and things seeks little in the way closure and finality, and this gentle refusal is what ultimately matters.

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A Unique Pairing: Teri Dryden at B. Deemer

A Review: Out of Line: New Works by Teri Dryden

at B. Deemer Gallery, Louisville

Sketchbook2, 2017, collage, 8×8

Abstraction, unlike figuration, is enigmatic, fleeting, and, in some cases, uncertain. Abstract artworks seem to channel the human condition in ways that figurative works cannot. They connect with viewers on a purely visual level; there is no narrative to be read or bodies to identify. On the contrary, abstraction thrives purely on emotion and instinct. Teri Dryden’s abstract paintings and collages offer viewers a moment to reflect and reevaluate themselves and the world they occupy with rich colors and forms. Dryden’s art serves as a remedy for the hustle and bustle of daily life—a breath of fresh air, as it were.

Out of Line, an exhibition of some of Dryden’s most recent artistic output at Louisville’s B. Deemer Gallery, showcases the artist’s dedication to abstraction, medium, and color, specifically the ways in which color is perceived and internalized in viewers.

Installation view, Out of Line: New Works by Teri Dryden, B. Deemer Gallery, Louisville, KY.

Dryden received an undergraduate degree in theatre from Towson University before touring with the Ringling Brothers and Barnum & Bailey Circus as a clown for two years. She moved to Los Angeles thereafter and was an accomplished stage actress, but she quit acting after the birth of her first child. Dryden maintained an interest in self-expression and turned to painting and drawing—after a brief exploration in quilt making—for creative release. She now resides in Louisville and is represented by galleries in Kentucky and Mississippi, though she continues to show work across the nation.

Dryden begins the majority of her paintings with a single line and builds them up in a series of reactions to the medium and the individual marks she makes; Viewers can easily determine how materials are applied. It is evident Dryden does not simply brush and drip paint onto her canvases; she also utilizes reductive techniques such as sanding and sgraffito, a technique of scratching through a surface to reveal a lower layer of a contrasting color.

In addition, the varied opaqueness and transparency of her paints create a sense of depth capable of spurring a multitude of interpretations. Indeed, Dryden’s paintings function as planes for viewers to look at and intake. The records of her actions—those marks always at the fore in her paintings—offer a sense of directionality so that viewers survey the entirety of each canvas in constant movement. Some of the artworks in Out of Line are inspired by Dryden’s recent journey to India and her engagement with India’s visual culture as well as the Holi festival. There, she collected materials from her daily activities that were to be incorporated into her art upon her return home.

Moon Gate, 2017, collage, 8×10

Dryden undeniably invokes certain well-known figures of art history. Her emphatic treatment of the canvas’s surface is suggestive of paintings by abstract expressionists such as Joan Mitchell, and Lenore “Lee” Krasner -particularly her broad, vivacious brushstrokes. Yet, the shapes she creates and their interrelationships within the canvas’s frame alludes to paintings by Clifford Still, who invoked the vast stretches of land of his native North Dakota through from and color. Dryden’s most abstract paintings, with their soft violets, blues, and greens, capture the essence of natural light and terrains that prevail in locations like Los Angeles and Louisville.

Sun Gate, 2017, collage, 8×10

There are certain examples in Out of Line that borrow techniques from the likes of neo-Dadaists, such as Jasper Johns and Robert Rauschenberg, who used quotidian imagery and materials to marry art and life. Johns prepared the surface of his iconic American flag paintings with newspaper clippings before applying paint. In a similar manner, certain examples in Out of Line, such as Sun Gate, contain fragments of posters, magazines, and newspapers that represent the ways in which Dryden’s life experiences permeate her art.

In this sense, Dryden’s creative process begins not in her studio but in the world she (and we) roams. Rauschenberg believed that:

There is no reason not to consider the world as a gigantic painting.

Dryden seems to share this sentiment. With insinuations to such figures, Dryden seemingly approaches her art making academically.

Rishpal’s India, 2017, collage on panel, 24×24

Dryden breaks most poignantly from these historical precedents when she includes materials accumulated from her time spent in India, as well as other mediums, into her art, which subsequently become collages and mixed media pieces. Especially in works like Rishpal’s India where portraits of Indian people and stylized words from the Hindi language appear, Dryden emphasizes the parity of cultures that are all too often distinguished by economic and political difference.

In the most refined examples of Dryden’s collages, it is unclear whether her materials derive from America, India, or anywhere else, a testament to both comparable aesthetic trends on a global scale and the artist’s ability to render them equal. These are completed on either panel or paper and can be presented on walls or, as in the case of Pink City, on pedestals. The edges and overall condition of Dryden’s collages and mixed media pieces are awry and more uneven than her paintings—indeed, these represent fragments torn from Dryden’s life and creative practice.

Pink City, 2017, collage, 11×14

Out of Line is thus informed by art historical movements, but earns its distinction from its celebration of global communities. Consequently, this exhibition is arguably comprised of two separate bodies of work. On the one hand, there are objects that can be classified strictly as paintings: these are the abstractions that showcase Dryden’s intuition and patience in regard to process. On the other, her collages and mixed media pieces exemplify her interest in foreign cultures and her aptitude for allowing her experiences to influence the subject matter of her art. It is as if some of Dryden’s twenty-five objects displayed in B. Deemer Gallery represent her studio practice while others illustrate her life away from the easel. This makes for a compelling exhibition, as divergent as the selected works may seem.

Viewers are able to consider the ways in which combinations of Dryden’s techniques, color palettes, and materials can invoke multiple interpretations. Out of Line effectively characterizes Dryden as an artist with a range of abilities. Yet this exhibition may leave some wondering if a more condensed selection of objects would more prudently illustrate Dryden’s most distilled ways of art making. If the gallery were filled with only her collages, let’s say, perhaps themes of biculturalism and globalization would more fully prevail. Instead, we go back and forth between Dryden’s intimate explorations of color and the eye-opening takeaways from her time abroad.

Out of Line: New Works by Teri Dryden is on view through July 5, 2017 at B. Deemer Gallery in Louisville, KY.

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