San Francisco Exhibitions. Stacey Steers. Night Hunter. Catharine Clark Gallery (CCG). November 2 – December 14, 2013
San Francisco, CA: Catharine Clark Gallery (CCG) announces Night Hunter, a solo exhibition of work by Stacey Steers. The exhibition dates are November 2 through December 14, 2013. The artist will be present for the opening reception on Saturday, November 2 from 4 to 6pm and will give a guided walk through at3pm.
Stacey Steers’ first solo exhibition at Catharine Clark Gallery, Night Hunter,consists of sculpture, mixed media collages, and shadow boxes—all of which augment and provide context for the display of her rivetting video and film work. The exhibit will consist of: screenings of her films Night Hunter and Phantom Canyon, framed collages from the production process of the films, dollhouses embedded with video screens, shadow boxes, and art books of Steers’ animations. Meticulously crafted from thousands of handmade collages, Steers’ films have screened at over 40 film festivals worldwide. Her films have been shown at the Lincoln Center and MOMA in New York as part of the New Directors/New Films Festival, the Telluride Film Festival, the Houston Cinema Arts Festival, and the AFI Film Festival in LA. Both Phantom Canyon (2006) andNight Hunter(2011) were Official Selections at the Sundance Film Festival in 2007 and 2012. Internationally, her films and have drawn audiences at the Rotterdam International Film Festival, as well as various other festivals in Spain, Australia, Hong Kong, Italy and Croatia. Steers is interested in creative engagment with the visceral plasticity of reflection. Rather than storyboards, she allows a surreal connectivity between intuited choices to drive her work organically. In her animated films, Steers explores the elemental process of constructing meaning from experience; the process involves a dynamic interplay between events, analysis, memory and culture. Her films are driven by subsconscious reckoning with memory and longing, and examine themes drawn from the deep terrain of allegory, myth and archetypes.
Night Hunter (2011), Steers most well known work and the namesake of the exhibition, incorporates images of Lillian Gish taken from silent-era, live-action cinema. Paired with Night Hunter House, a handmade three-story Victoria-era dollhouse built to accompany the animated film, scenes from the Night Hunterare viewed through the windows of this installation piece. Tiny video screens play loops from the film, embedded amidst elaborately decorated rooms filled with tiny light fixtures, antique lace, bird eggs and moth specimens. The resulting dreamscape is at once disquieting and mesmerizing, both beautiful and haunting. The narrative unfolds intuitively and reveals itself in the process of construction. Transitions, both biological and metaphorical, are central themes. In some instances, Gish is cut out of specific scenes and reconfigured in collage environments, while collage materials are applied directly to printed film frames in others. The subsequent fluidity of character becomes a critical element in the texture of the film, and the identity of the principal character. Night Hunter House, and the unique experience of the film viewed through this landscape, has travelled far and wide in just a few short years: before arriving at Catharine Clark for this exhibition, Steers’ work showed at Galerie West in the Hague, Netherlands; Tufts University Art Gallery, in Boston; the Virgina Museum of Contemporary Art; and The Hood Museum of Art in Hanover, New Hampshire.
The film Phantom Canyon (2006), which will be shown in the gallery’s dedicated media room, is an exploration of memories, a reflection on a pivotal journey taken many years ago, and a surreal circumnavigation of that experience. The film is composed of more than 4,000 collages, each made by combining photocopied elements from 18th and 19th century engravings with figures from Eadweard Muybridge’s Human and Animal Locomotion, first published in 1887. The Muybridge figures were themselves recombined to create the movements necessary for the narrative flow of the film. The collages were then photographed on a 35mm Oxberry animation stand. Texture layers were added using transparencies. Bruce Odland composed the music and sound elements.
Steers generated a string of over 4,000 paper collages for both Night Hunter andPhantom Canyon. Several of these mixed media compositions, stand-alone pieces of art in their own right, will be on display. Steers creates the collages using 18th and 19th century engravings, magazine and clip art, colored pencil, and in the case of Night Hunter, film images from four different silent-era films from the early 20th century. Steers’ process is painstaking and meticulous—Night Hunter took over four years to make, with approximately eight collages required to produce a single second of film time. Her efforts yield beautiful stills which are crucial to the subsequent fluidity and texture of her films. Published in July 2013, Steers’ art was featured in the Chronicle Book publication Animation Sketchbooks, by Laura Heit, as one of fifty leading contemporary talents working in independent animation. Copies of the book will be on display and available for purchase at the exhibition.
About Stacey Steers
Stacey Steers makes labor-intensive films composed of thousands of individual, handmade works on paper. Her animations have screened at the Sundance Film Festival, Telluride Film Festival, New Directors New Films in NYC and the National Gallery of Art in Washington D.C., along with numerous other screenings worldwide, winning national and international awards. Recently she has begun expanding her work to include installations that reflect on and bring focus to the films by placing production elements and/or film loops in a new context. Her work has been installed at the Corcoran Gallery in Washington, D.C., the Denver Art Museum, and the Hamburger Kunsthalle in Hamburg, Germany among others. Steers is a recipient of major grants from Creative Capital and the American Film Institute. She has been an artist fellow at Harvard University, the MacDowell Colony, the Sacatar Foundation, Ucross Foundation, the Liguria Study Center and Yaddo. She lives and works in Boulder, Colorado. For more information about Stacey Steers, or to access her resume, please contact the gallery:www.cclarkgallery.com or 415.399.1439.
About Catharine Clark Gallery
Established in 1991, Catharine Clark Gallery presents the work of contemporary artists. A wide range of media is represented in the gallery’s program, emphasizing content-driven work that often challenges the traditional use of materials, formal aesthetics and concept. Catharine Clark Gallery (CCG) was the first San Francisco gallery to create a dedicated media room, presenting new genres and experimental video art with each changing exhibition. Exhibitions are hosted on a six-week schedule and generally feature one or two solo presentations in addition to media room installations. Additionally, CCG regularly participates in national and international art fairs. In September 2014, Catharine Clark Gallery, San Francisco relocated to a historical building and former 1930’s door factory at 248 Utah Street. The new gallery location, in an industrial, ground floor space designed by Los Angeles-based Tim Campbell, adjacent to Brian Gross Fine Art and below Hosfelt Gallery, is now open to the public. Near the San Francisco Design Center, Showplace Square and The Wattis, the gallery is situated among numerous arts institutions in San Francisco’s Potrero Flats. The gallery hours are Tuesday–Saturday, 11am–6pm. Please visitwww.cclarkgallery.com.
In March of 2010, the gallery initiated Catharine Clark Gallery, New York, a temporary project space in a residential apartment in New York’s Chelsea neighborhood. Installations of gallery artists’ work are presented as “pop-up” exhibits at the New York location several times a year (313 West 14th Street, between 8th and 9th Avenues). Please consult the gallery’s website for programming.
Catharine Clark Gallery
248 Utah Street
San Francisco, CA 94103