MARK, PAPER, SCISSORS | May 1 - June 26, 2010

Press Release

For Immediate Release
Roos Arts
449 Main Street
Rosendale NY, 12472
t. 718-755-4726

Jason Gubbiotti, Travis Head, Nancy Murphy Spicer, Mia Pearlman, Adie Russell, Erik Schoonebeek, Tamara Zahaykevich

May 1 - June 26, 2010

Opening Reception: Saturday, May 1, 6-8 pm

Gallery Hours: Thursday - Saturday 1 - 5 pm

Roos Arts is proud to present Mark, Paper, Scissors, a group exhibition exploring the role of drawing and how artists are utilizing the drawing process to create a diverse range of visual experience. Participating artists are Jason Gubbiotti, Travis Head, Nancy Murphy Spicer, Mia Pearlman, Adie Russell, Erik Schoonebeek and Tamara Zahaykevich. Jason Gubbiotti's practice of drawing on paper allows him to do different things with pen and watercolor. Unlike his paintings, where perfect lines are often crafted with carefully laid tape and stretcher bars are unconventionally shaped to question the physical structure of paintings, the works on paper are more playfully constructed, creating natural lines unbounded by tape and easily shaped by a cut. Gubbiotti utilizes both practices to arrive at an abstract image reminiscent of an architectural plan or a microscopic view of a futuristic space. In contrast, Erik Schoonebeek's architectural references in his gouache drawings reflect specific places, signs, icons and pictograms. Often using found objects such as book covers, torn pages, box covers, Schoonebeek juxtaposes the figure and the background on the same flat, matte surface. There is no fore/middle/background. All the elements are weaved, or melded together to present a singular, fantastic, colorful space.

Travis Head's pencil drawings "find their origin in events or locations in the present or the personal mythology made from [his] past." His work is driven by his desire to preserve or commemorate the memory of a specific event as a souvenir or keepsake rather than an exact recounting of a place or a feeling. The monochrome graphite rendering, sometimes in faint shades, seems to reaffirm the fragility of our memory. For Adie Russell, the drawing process is a part of a larger practice that involves painting, video and photography.  Russell calls upon each process to examine the complex relationship between language, nature and selfhood as well as the exchange between  past and present. By adjusting the context of found language and materials, she creates an unknowable, unpredictable dimension in "which the unexpected can occur."  Russell believes that the drawing medium has the potential to engage the viewer in an intimate stance where the exchange between the art and the viewer can be intensely personal and close.

Whether the work is a site specific installation or paper cut collages, Mia Pearlman's work often begins as a drawing based on "spontaneous decisions in the moment." The loose line drawings in India ink on paper are cut and transformed within a sculptural 3D space where imaginary cloud like images are formed, bringing the viewer into the "eye of the storm." Nancy Murphy Spicer explores connections between process and product by creating drawings and drawing situations that assert themselves, subtly and emphatically, into the viewer's space and invite interaction. In Drawing Trying To Stand Up, she provides a set of tools and basic instructions and invites the curator to complete a physical drawing that lurches into the space at various points. Unapologetically poetic and emphatically physical, the work plays with the shift from from flat to round. In Notebook Drawings, Murphy Spicer places 50 drawings on a shelf and provides a chair for visitors to look through the drawings. With this simple act, the visitor engages with the work in an intimate way and acts as a performer bringing the flat drawings into a dimensional space. Tamara Zahaykevich also creates drawings in space. The colorful relief drawings are created using "the by-products of [her] sculpture practice." From the discarded, unused materials from the artist's studio, Zahaykevich juxtaposes unusually matched elements to shape desirable, "jewel-like" objects that transcend the materials. Her approach is intuitive and her energetic gestures bring together the mundane and the cast away materials to achieve "a freshness or raw quality--a-go-for-broke-aesthetic that is courageous and timely."

Artists in Mark, Paper, Scissors utilize paper as a ubiquitous medium for exploration, manipulating its physical vulnerability to not only create environments reflecting a viewer's consciousness of real space, but to engage and express moments of both personal and varied histories. The works in the exhibition are diverse and multifarious, and encourage us to question not only what the object represents but the maker behind the process and where we are as consumers of culture.

Additional information for Mark, Paper, Scissors is available upon request by contacting Heige Kim at 718-755-4726, via email at