Tinney Contemporary is pleased to present “Things to Come” an exhibition showcasing the diverse works from our roster of artists and a look ahead at our plans for the new year.

Sisavanh Phouthavong lives and works in Nashville, TN, where she is a professor of Painting at MTSU. Her work draws heavily on her experience of displacement as a Lao American refugee. Her large scale, abstract paintings create a Third Space of Cultural Hybridity, of fractured perspective and identity. The “Kaleidoscopic” nature of her work is referential to the post-colonial condition—the violence of civil war as well as the inner-conflict between competing cultural claims, between preserving cultural identity and assimilation.

Josh Azzarella interrogates the processes by which images affect collective memory through video installations. Azzarella deconstructs this system of images—created and sustained by mass-media and the entertainment industry—by digital manipulation, interrupting hegemonic control over-representation. His work manages to maintain a playful posture while delving into the complexities of memory, history, and representation.

Tiffany Calvert reproduces Dutch still life paintings with all the mastery of a classically trained painter—but with visual glitches and pixellations that recontextualize the works and place them in dialogue with an evolving, postmodern notion of perspective. Calvert’s paintings are mimetic of low-res, Google search reproductions, pushed to the margins in an economy of images valued for fidelity to the original. Calvert flips this hierarchy on its head by elevating the transient, the reproduced, the modified, the damaged and degraded.

Alice Zilberberg is an award-winning photographer currently based in Toronto. Her images of landscapes and wildlife are executed with a painterly meticulousness, pointing to her roots as a painter. The dream-like quality of the environments she depicts is indicative of our precarious relationship with the world we inhabit; the ways we define nature, the ways nature defines us, and the ever-scarcening beauty of an untouched vista.

Arden Bendler-Browning’s paintings create an immersive and visceral experience of space and dimension. Dealing primarily in abstraction, she embeds elements of perspective and formal hints to landscape—but relies on vivid colors and gestural brushstrokes to create some tacit encounter with space. This is perhaps most evident in her virtual reality pieces, which overlay 3-dimensional digital paintings over “real” landscapes, which the viewer is (literally) immersed in—creating an impression of place, expressing emotional resonance rather than visual appearance.

Jeanie Gooden lives and works in San Miguel de Allende, a colonial city which has markedly influenced Gooden’s abstract, mixed-media paintings. Gooden’s paintings, which are given voice and movement by their diverse materials, mimic the diverse-yet-unified culture of San Miguel de Allende.

Marylin Murphy creates drawings and paintings which play on the intersection of life and art, as well as the nostalgic feeling of 50s and 60s advertising. Pulling from imagery located somewhere between Madison Avenue and Alfred Hitchcock, Murphy’s work is rooted in the pantheon of consumerism, entertainment, and advertising—a distinctly American iconography.

Andy Harding brings a chemist’s attention to detail to his intricate, interlocking sculptural installations; some suspended from 30-foot skylights, mimicking some primordial, geometric order and rhythm. Harding’s work speaks to the harmony underlying apparently chaotic and disordered systems.