Anderson's recent work reveals and erodes imagery through her process, evoking the acts of remembering and forgetting. Surfaces are embedded with histories that may not be immediately apparent, becoming a space where past and present share a permeable non-linear relationship. The work expresses the anxiety associated with transitional states and oppositional qualities, and is a reflection on the instability of identity itself. The fragmentation and repitition or imagery implies both a fixation and elusiveness in the search for a more comforting cohesion and narrative.

Tiny II will showcase hundreds of original artworks created by more than 80 local artists. Each artwork will be 6”x 6”x 6” or smaller, many for $100 or less. The pieces will move beyond the usual wall space and floor stanchions to occupy all the nooks and crannies of the gallery. Works include paintings, sculptures, drawings, textiles, and more. Some of the work is simply miniature versions of the artist’s standard offerings, but some artists were inspired by the gallery’s layout to create site-specific installations.

Gallery 924 will be closed starting December 24 and will reopen January 2, 2014.

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Horvath is primarily known for his high-gloss and refined, large-scale oil paintings that represent our cultural obsession with the appearance of luxury, celebrity, and consumption. In his practice, he begins with an abstract, almost other-worldly sculpture that then serves as inspiration for the resulting highly polished and detailed painting, often mistaken for a digital image. His most recent body of work explores these sculptures with greater depth and detail. Horvath has now escalated his practice of creating a preliminary sculpture by using more substantial materials. Through the use of porcelain, his sculptures have become more permanent and thus represent works in their own right instead of simply a preliminary work or reflection of the grander oil painting. A large collection of his new porcelain sculptures at Gallery 924 have never been seen before outside of his studio.

In his first major exhibition in Indianapolis since 2005, Faust offers a wide range of materials with one singular focus. This current body of work investigates the natural environment from two distinct positions. Faust explores the current state of the natural world as both a reverent observer and a concerned occupant of the Earth. The paintings on canvas and wood represent his celebration of nature, while the "Fossil Fuel Series" exhibition prints deal with his pointed angst at the degradation being perpetuated on the environment. The palette of the two series represents the extreme opposite sides of the spectrum, using the most vivid color combinations or alternately the most subdued monochromatic grays. In both series, the commentary is bold, thoughtful, and intense.

James Wille Faust is a 2007-2008 Arts Council Creative Renewal Arts Fellow.

Unblocked represents a journey of rediscovering the creative process through pattern and color. Rao's previous work was mostly figurative, but in 2011, this Butler University professor began to explore pattern. This marked the beginning of an exploration of color that has led to complex and unexpected destinations. Over the past two years Rao has made large-scale paintings exploring color relationships, pattern, typography and landscape. The paintings rely on a grid of color squares, which in these paintings allude to pixels of fabric patterns. They play on the human tendency to recognize images in patterns everywhere - in the intervals of cracks on the sidewalk or images found in cloud formations.

Increasingly, mathematical patterns play a rle in the structure of paintings. Rao alternates colors in syncopated patterns, grouping them by hue, color, temperature and value. They play to the joy found in color choices and the excitement of the creative process - of creativity rediscovered and unblocked.

Opening Reception: Friday, September 6 as part of IDADA First Friday Art Tour

Working strictly with film and manual equipment, M.W. LaFary began a journey in 2010 to explore and document a growing phenomenon. The visual urban landscape of Indianapolis, along with many American cities, was showing distressful signs of systematic decay and deterioration. With thousands of once occupied Indianapolis homes and businesses boarded-up and overgrown, and just months before the foreclosure crisis would empty thousands more, a new series of work was born. DECLINE seeks to document and reflect upon the growing signs of trouble in the local landscape.

LaFary has traveled a great deal of central and southern Indiana and even into northern Kentucky exploring abandoned, boarded, or otherwise disregarded spaces. The body of work has grown to include hundreds of exposures made at dozens of sites, many of which no longer exist. For LaFary, this vast collection of images is the story of everything. They are the story of the end.

Opening Reception: Friday, August 2 as part of IDADA First Friday Art Tour.

It has been said that auto-biography is impossible. One will never be able to view themselves in the same way the world sees them. That has not hindered the thousands of artists over the centuries who have used self-portraits as a means to express their core essence.

Artists have used self-portraits as studies, as final works, and as a way to explore their inner demons and desires. Inflated self-importance (think Albrecht Durer). Self-doubt and fear (think Edvard Munch). Social critique (think Cindy Sherman), and the list continues.

Join Gallery 924 during June and July, as we present a wide array of central Indiana artists' visions of self. Works include painting, drawing, printmaking, ceramics, sculpture, video, poetry, and more.

Opening Reception: Friday, June 7 as part of IDADA First Friday Gallery Tour

Image: Amelia Morris, From the series An Honest Assessment, 2011

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