Christopher David White, Tipping Point, 2016, formatting ceramic, acrylic, plastic, metal leaf, 13 x 11 x 12 in.
Image: courtesy Abmeyer+Wood
Christopher David White: Human:Nature
Abmeyer + Wood
On first glance, Christopher David White’s pieces feature some of the most gorgeous woodworking imaginable. On second glance, it becomes apparent that these sculptures aren’t wooden at all. The clay creations mimic wooden properties thanks to White’s precise knack for recreating natural textures in the clay and the use of acrylic paints to make the barky browns pop. White combines an abstracting eye for the human form with the faux wooden earthiness in his first solo exhibition, Human:Nature. Opening reception from 5–8.
Brian Murphy, Cigars, Donuts, ceramic.
Things That Kill
Prographica / KDR Gallery
While we easily recognize the horrific things that can lead to our untimely ends (bullets, monstrous beasts, etc.), we often overlook the danger in seemingly happy things (trees that fall, donuts that aren’t exactly healthy, and so on). Prographica / KDR Gallery’s group show Things That Kill brings together both sides of the equation. Curated by Norman Lundin, the exhibit features photographs, paintings, and drawings that convey different powerful aspects of death and peril when filtered through this macabre thematic context. Opening reception from 6–8.
Deborah Butterfield, Three Sorrows, 2016, unique cast bronze and found elements, 81.25 x 100.75 x 40 inches.
Image: Courtesy Greg Kucera Gallery
Deborah Butterfield: Sculpture
Greg Kucera Gallery
The majestic wildness of horses has been the muse of artists for millennia, but few manage to capture the animals’ spirit like Debroah Butterfield. Since the 1970s, she’s been creating stunning “ghost” horse sculptures out of found wood, then booze casting the discarded branches to create more sturdy and permanent works of art. Something about these open, wiry forms taps into the elemental sense of freedom these creatures possess. Gallop down to Greg Kucera Gallery to see some of the world-renowned artist’s newest hoofed friends. Opening reception from 6–8.
Michael Paul Miller, The Divide, 2016, oil on canvas, 48 x 77 in.
Michael Paul Miller
Linda Hodges Gallery
Michael Paul Miller’s paintings depict the sort of scorched hellish landscape one might imagine predated the post-apocalyptic desolation Cormac McCarthy’s of The Road. His vision is a dark world on fire; one scattered with ablaze animals and fallen children on a road that doesn’t promise any escape from the madness. While some of his work might tend to be a touch over-dramatic, it’s tough to shake off the images of fires that burn the innocents on the asphalt. Opening reception from 6–8.
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