March, 2009 Exhibit

Jonathan Henretig:
Welcome Hone & Goodbye

Two Installations and a Performance

Images of Jonathan's Work

Jonathan Parker Henretig graduated from Syracuse University’s School of Visual and Performing Arts in 2000 with a BFA in Painting. Soon after graduating he moved to Brooklyn, NY and co-developed a live/work gallery in Bushwick, Brooklyn called 330 Melrose. Jonathan moved back home to Philadelphia in 2004 and joined Highwire Gallery in Fishtown in 2008. Jonathan has exhibited his work in galleries and alternative exhibition spaces across Philadelphia, Brooklyn, New York City, New Jersey and upstate Pennsylvania. Notable exhibitions include shows at Hall Walls, Buffalo, NY, Artist’s Space in New York City and Mildred’s Lane in upstate Pennsylvania. Jonathan has shown along side international artists such as Mark Dion, J. Morgan Puett, Allison Smith, Daphne Fitzpatrick and Josiah McElheny.

Jonathan’s work primarily consist of three practices; object making, installation art and altered photographs. His art examines and experiments with both the imposition of culture on nature and conversely, nature’s effects on human culture For his first show at Highwire Gallery, Jonathan plans on erecting a conglomerate rock and wood raised garden as well as a rock garden grave yard. These sculptures along with his altered photographs will address many issues including: landscape architecture, geology, archeology and anthropology within the forested and urban environment. His art hovers in the grey area between urban modernity and pastoral environmentalism and envisions a sort of utopic collision of the two extremes.

Steven Iwanczuk:
Doubling

New Digital Prints

Here's Looking At You, Kid

Irritated Guitar Mask

Doubling

Connections, “masks” and anatomy

“Doubling” is all about new connectivity . . . the ingredients in this case are parts of an acoustic guitar and various images of anatomy.

The doubling, and in some cases tripling, of visual components is the result of new conjoinings, and distortions of singular images. The additional abstracting ultimately redefines and totally alters the character of the original images. In other words, already abstracted images are altered even further by new relationships of tone, planes and visual allusions . . . the guitar segments take on “mask-like features” and the anatomy becomes landscape or, in some cases, the surreal characters of otherly existence.

Steve Iwanczuk, March 2009