Upcoming at Galleri Urbane: Jessica Snow + Jeffrey Dell Nov. 21


Jessica Snow + Jeffrey Dell

Galleri Urbane Marfa + Dallas is pleased to announce Refraction in the Line of Sight, a Solo Show featuring San Francisco artist Jessica Snow and, Dreamland, a Solo Show featuring Texas artist, Jeffrey Dell. The exhibition opens on Saturday, November 21st and runs through January 2nd, 2016, with a reception from 6:00 to 8::00 PM on November 21st.

RSVP on Facebook for the Opening Reception

Galleri Urbane Dallas
2277 Monitor St. Dallas TX 75207
Tues-Fri: 10-5, Sat: 12-5 or by appt.
325-226-8015   art@galleriurbane.com


Jessica Snow
Two Step with Grey, 2015
Acrylic on canvas
24 x 18 in.
In Refraction in the Line of Sight, Snow’s works are inspired by percussive rhythms and Corbusier’s classic Dom-ino Effect, so-called because the houses could be linked end to end like dominos, and hyphenated to combine ‘domus’ and ‘innovation.’ Viewers will recognize isometric grid motifs, deflected at the junctions with a silent boundary. “At this point, the boundary is silence or space, depending of the metaphor the mind is drawing out. Whether that metaphor is based on sound, through music, or sight, through architecture, the pattern is in continual movement” says Snow. The show also includes a pulsating tondo painting, providing a counterpoint to the tempo of the other angular artworks.
Jeffrey Dell
Paradise Ranch, 2015
Screen print, edition of 1.
34 x 23 in.
Dell’s show, Dreamland, is part of a larger series called Sightings, which references Area 51, the secret military base in Nevada and a topic of fascination for conspiracy theorists and paranormal enthusiasts. “This is a reference to our human tendency to see what we want to see, what we hope to prove. Area 51, as a mythical place, is a locus of desire, longing and conspiracy” says Dell. In Dreamland, embossed imagery is depicted with illusory colors that swing and flux in contrast with colorlessness, making the works both decidedly graphic and inconspicuously photographic. Elements of motion are constant and put viewers’ desires in question of how much they cooperate with facilities of perception. “Each image is a bit of a promise, a gift that never quite gives” adds Dell.

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