Currencies: Real and Imagined

November 22, 2013 to January 11, 2014
Opening Reception: November 22, 6 to 9 PM
Admission is FREE. Cash bar.
Exhibition runs: November 22, 2013 to January 11, 2014

Currencies is an exhibition by Core Visual Art, a collective of six former Affiliate Artists at McColl Center for Art + Innovation, who work both individually and collaboratively. The members of Core include: Daniel Allegrucci, Crista Camarroto, Diane Hughes, Ashley Lathe, Laura McCarthy and Felicia van Bork.

Currencies references not only money, but anything that is used as a medium of exchange, in this instance, the flow and exchange of ideas between group members that result in individual and collaborative works. Featured in the exhibition is a new dialogic piece titled State Currencies in which members created new currency for each of the fifty states in response to recent agitation by state groups to separate and form their own countries.

During the opening reception, visitors will be invited to participate in a large, interactive performance work in which the art, the artists and visitor’s interactions merge to create something new informed by themes of contemporaneity – current time and space, flow and exchange—highlighting the nature of the creative process.


A two-person exhibition at the McColl Center for Art + Innovation, showcases the work of Linda Luise Brown and Jason Watson, 11-month artists in residence at the Center. The show spans the second and third floor galleries of the building and  features considerable bodies of work from each artist, including large wall murals and painting installations made specifically in response to the buildings architectural eccentricities.
The title of the show makes reference to a poem by Thomas Hardy, and suggests the surprising formal connections that develop when art from two distinct aesthetic approaches mixes and collides in the same visual space.  Brown and Watson have their own unique approaches to painting and drawing; one being abstract, the other utilizing figure drawing as a motivating force. But the dialogue between them is not necessarily asymmetrical. There are important color relationships that connect both bodies of work and dynamic movement plays a key role in each canvas or drawing. In Brown's work, the abstract forms seem to build or emerge from clouds of pulsating color. In Watson's work, the figures suggest motion, often glancing or gesturing in a particular direction through nebulous, theatrical space. During the process of self-curating the show, the artists found a sense of commonality in their works, whether searching for beauty or reveling in the play of decorative visual folly.