El Camino College Art Gallery is proud to present recent works by Ann Page and George Page in Vanishing Boundaries. Ann Page, associate professor at Roski School of Art and Design, USC, has exhibited her work both domestically and nationally. Early in her career she focused on 2D works in which organic images and depictions of everyday objects were used repetitively to create patterns. Ann has maintained vivid interest in organic imagery, whether it is botanical or cellular and continues to explore the patterns that naturally exist and repeat in both micro and macrocosmic worlds. Following her early 2D work Page moved towards the purely sculptural, working with paper, birch dowels and wood forms that are evocative of both nature and architecture. Through the specific use of fragile and perishable materials these works inherently deal with the ephemeral. She exhibited this work at Space Gallery in Los Angeles, CA throughout the 1975-95s. Around 2003 Ann began to experiment with digital media, combining her prodigious drawing skills with cut and manipulated photographs to create 2D works, often representing plant life in the desert that surrounds the Pages’ home and studios.
Most recently Ann Page has produced, via digital 3D printer, a series of small three dimensional forms that mimic plant life as well as life on the cellular level. She and the Page’s daughter, Felicia Page, who is also an artist, have collaborated on these pieces. Felicia is doing the assembling of Ann’s 3D printed objects with existing ceramic pieces in the new work and is adding unexpected color to the combined ceramic and 3D printed forms. These surprising and frequently humorous works are indication of the vanishing boundaries explored by the Pages. They persistently ignore the division between two and three dimensionality, allowing poetic and sometimes frenetic intersection of vision.
Ann Page's current works include both flat and dimensional pieces. Within this body of artwork she expands upon her interest in layered and overlapping worlds, where macrocosm and microcosm exist simultaneously. Page considers personal expression to be evidence of specific choices made in a continuum of space and time.
George Page, sculptor, painter and lithographic master printer, delights in breaking the boundaries between two and three dimensionality. Inspired by the iconoclastic works of Robert Rauschenberg, Page moves freely into combining painting and sculpture. Page's early abstract sculptures made of painted wood, referenced architectural elements such as doors, walls and structural supports. They play with depth and dimensionality while exploring the realm of chance and spontaneity -putting together materials with great fluidity. The works revel in the sense of change. Page exhibited his abstract sculptural work at Ruth Bachofner Gallery in Santa Monica, CA, during the 1980s and 1990s as well as exhibiting in multiple galleries nationally.
In his current series of paintings and sculptures (seen in the Vanishing Boundaries exhibition) Page selects miniature compositions from magazine color photographs and uses these fragments as the basis for studies (oil on veneer, 32”x 24”). These enigmatic pieces depict subjects as disparate as a shirt hanging on a peg or a makeshift clothes-line, to scintillating neon signage or giant transparent pearls viewed at point blank range. The works move backwards and forwards…at times the viewer is held at arms length, at others the view is so close that the image becomes completely abstract and apparently spontaneous.
In 2012, Page began to work on a series of monumental panels (8’ x 6’) based upon these studies. Following a long-time dream of uniting the panels with a human figure, Page arduously created a life-sized figure in clay, which he cast and then created a mold into which he poured Forton G casting material (a super-hard gypsum casting compound). The figure is mounted rigidly, arms outstretched, on a richly painted background. Sometimes the figure, who happens to be female, appears to be soaring upwards. At other times, Page reverses the direction and the female is diving into the depths. Her body and face are painted to coordinate with or oppose the grounding panel.
The effect is intentionally powerful and bizarre…it is hard to decide whether this figure is a demonic presence or an angelic messenger as she bursts through the 2D plane. Through the use of giant scale, the repetition of the pose and the effect of alternate positioning, the viewer becomes involved in the movement of ascent and descent, and in the opposition of fantastical world vs. physical reality. No longer is the two-dimensional surface sacrosanct.
The Page family is deeply engaged in the exploration of change. Their works speak to abandonment of conventional formal boundaries and towards a sort of simultaneity of vision and action. Theirs is a mutable realm where objects protrude from flat planes and coyotes laugh in their sleep. Is this a vision of the artists' psyches or is it a glimpse into a territory shared with science-fiction?
Director/Curator El Camino College Art Gallery
Ann Page; Conglomerate Study #2; Layered, folded/unfolded,
cut, digital print + Prismacolor pencil on a layer of Torinoko
paper and a layer of Rives BFK and cut digital print +
Prismacolor pencil on Torinoko paper, 2 layers. Digital 3D
ABS plastic 3D objects collaged to Torinoko;
2 3/4" x 2 3/4" x 21/2"; 2015
George Page; Tears of Heaven; Oil on veneer with
Forton G casting material; 8' x 6' x 2.5'; 2015
Ann Page; Phaecelia; Mixed Media, layered and cut Rives
BFK and Arches, Prismacolor, litho, gesso and Liquitex
spray paint; 48 1/2" X 35"; 2014-15
George Page; Resting on One Foot; Oil on veneer;
32" x 24"; 2011
Ann Page in collaboration with Felicia Page; Bucky;s Bryoza; Mixed media sculpture: Ceramic, 3D printed ABS plastic form, Liquitex spray paint, joined with Cyanacrolite; 11 1/8" x 7" x 7 1/2"; 2016