Slag & RX is pleased to announce "Coming Close," a two-artist exhibition curated by Seph Rodney. The exhibition will showcase works by Chellis Baird and Megan Dyer.

Curating a two-person exhibition is a delicate operation. Its difficulty consists in placing in visual conversation the work of two artists whose styles need to be different enough so as to generate productive friction. Yet, they can’t be so unlike that they seem to be speaking entirely different languages (brought together under the aegis of an overly constrained curatorial rationalization). They should share a lingua franca though their dialects differ. With the right combination the bodies of work may even complement each other.

A couple years ago when Megan Dyer reached out to me via social media to tell me about her exhibition at ATM gallery, I went to see it, trying to keep myself open to the possibility of being surprised, maybe even delighted. I was impressed with how energetic and sweepingly lyrical her painting was and is. Upon arranging a studio visit with her I was amazed to find that these non-objective compositions made up of graphite, pigmented water, and paper are actually studies of real people. In Dyer’s own words: “These works are portraits. I use the language of abstraction, but the works are representational.”

After selecting a person whose life strikes her as exceptional, Dyer begins a rigorous research process out of which she generates a timeline that includes the key events of her subject’s life. Dyer then turns that vertically arranged timeline into concentric circles that provide the backdrop for each portrait. Using water infused with acrylic binders and raw pigments, she chooses colors based on important biographical events. Dyer channels the energy of the subject attempting to find their true nature within a system of “Water Archetypes” she has invented. More than this, the artist who describes herself as a climate activist and water protector, is very intentional about the materials she uses. Graphite is a crystalline form of carbon which is the most abundant element in life forms on the planet; water, a life force that covers most of the Earth also makes up the majority of the human body; paper is made from trees with which our species has a crucial and interdependent relationship. With these paintings Megan Dyer seeks to mindfully place herself close to her subjects, in almost intimate contact while acknowledging that like them, her work will one day also pass away, and when it does, it should be reintegrated into the ground from which it was drawn.

Chellis Baird, alternatively, uses her abstract paintings to excite our faculties of and desires for touch. I recently saw her “The Touch of Red” series online at the suggestion of a mutual colleague and friend. Most of these works have a glossy surface that is even more richly inviting in person, and perplexing this visual lavishness is their muscular striation. These paintings comprised of fabric, plaster, acrylic, wood, and wire pull and strain at the conditions of their own being; they overwhelm the surface to become more than just reliefs — assemblage that the canvases’ borders cannot contain. And isn’t this a mirror of the human story, to struggle with our basic, corporeal circumstances, to contend against the most animal parts of our animal natures so that we might exceed them or transcend them?

The work also conveys the warmth of an embrace, the deep satisfaction of being held. More, Baird describes the work as being inflected by her ritual of applying red lipstick (her favored color), wanting to replicate the sensuousness of that caress which also makes the wearer’s lips temptingly lush. The viewer might also strain against the proper and customary prohibition against touching these paintings, though their surfaces kindle the desire to handle and feel their textures.

In other paintings mottled and convoluted surfaces are inspired by Baird’s experience of both a performer and a fan of modern dance: seeing how the rhythm of long and languid movement might be punctuated by more subtle gestures that seem to wink in and out of existence. They suggest something about how we move through the world, tethered to each other over time by threads of common experience that might become so intermingled we cannot fathom how to unknot ourselves.

Both of these artists come close to the very human experience of seeing, touching, and knowing each other — really coming into awareness of the other at varying levels of intimacy. Chellis Baird and Megan Dyer make approximations of the personal and propositions about our future encounters. As their voices converge here in enthusiastic exchange, the visitor listening closely might just be able to make out their own name.

(Curatorial statement by Seph Rodney)

Baird obtained her BFA in Textiles from the renowned Rhode Island School of Design and furthered her studies in studio art at the Art Students League in New York City. Her artistic journey has been marked by several notable achievements and recognition. In 2021, Baird held her first solo museum exhibition titled "Tethered" at the Myrtle Beach Art Museum in South Carolina.

In addition to her solo exhibitions, Baird has also participated in numerous significant group shows. Her work has been featured in prestigious venues such as the National Arts Club in New York City, where she had a solo exhibition titled "The Touch of Red" in 2022. This exhibition, curated by Jenny Mushkin Goldman, offered a comprehensive view of Baird's artistic practice and its exploration of color, texture, and the human hand and spirit.

Chellis Baird's artistic process is a exploration of the interplay between traditional craft techniques and contemporary artistic expression. With a deep reverence for textile traditions, she begins her creative journey by weaving her own canvases using a variety of fibers and yarns. The act of weaving itself becomes a meditative practice for Baird, allowing her to connect with ancient textile traditions while infusing them with her artistic vision. Once the woven canvas is complete, Baird embarks on a transformative journey of deconstruction and reconstruction. She meticulously disassembles sections of the woven fabric, unraveling and manipulating the threads to create texture, depth, and movement. This process parallels the act of unravelling memories or unraveling the layers of the self, inviting viewers to contemplate the fragility and impermanence of existence. With the deconstructed canvas as her palette, Baird employs a range of mixed media techniques to add layers of meaning and visual interest. She applies paint, dye, and pigments, carefully considering the interaction between color, texture, and form. The incorporation of upcycled textiles and found objects further adds to the tactile and sensory experience of her artworks. By repurposing these materials, Baird invites us to reflect on the value of discarded or forgotten elements and their potential for beauty and transformation.

Baird's compositions emerge organically as she responds intuitively to the evolving piece, allowing her process to guide her artistic decisions. She embraces chance encounters and spontaneous gestures, embracing the concept of serendipity in her creative practice. Each artwork becomes a testament to the collaborative dance between the artist and her materials, resulting in dynamic and visually grabbing compositions that transcend traditional boundaries.

Megan Dyer, a multifaceted artist, musician, and climate activist, has established a remarkable career marked by captivating solo shows, notable academic achievements, and insightful publications. Her artistic journey has been shaped by her unwavering commitment to self-expression, environmental causes, and the exploration of diverse mediums.

Graduating from Hampshire College, she had her first solo show titled "Everything is Everything" in Brooklyn, NY, in 1997. This transformative experience set the stage for her future artistic endeavors. Continuing her artistic evolution, Dyer delved deeper into her craft, earning recognition for her thought-provoking solo exhibitions. In 2000, she showed at the Times Square Gallery with the solo show "Macro-Micro," which captivated audiences with its intricate exploration of scale and perspective. Dyer's 's artistic pursuits were accompanied by a profound dedication to climate activism. Her solo exhibition "Transformator" at Gallery A Minor in Oslo, Norway in 2006, reflected her deep connection to nature and her fervent desire to raise awareness about ecological issues. Through her artwork, Megan aimed to evoke a sense of urgency and promote sustainable practices.

While Dyer's solo exhibitions have been instrumental in shaping her artistic identity, she has also participated in select group shows, showcasing her talent alongside other renowned artists. Notably, her involvement in the exhibition "Unframed First Look: A Salon for Painters" at Lehmann Maupin Gallery in New York, curated by Ross Bleckner, garnered attention and admiration from the art community.

Throughout her career, Megan Dyer's artistic prowess and thought-provoking concepts have been featured in numerous publications. Her work has been recognized in esteemed platforms such as "AM New York: the Villager," which highlighted her participation in an exhibit with a scientific approach to portrait art. Additionally, publications like "Hyperallergic" and "New York Times" have delved into her artistry, offering insights into her creative process and the significance of her work.

Megan Dyer's artistic journey has been marked by a relentless pursuit of self-expression, a dedication to environmental activism, and a drive to push the boundaries of her art. Through her solo shows, educational background, impactful publications, and participation in select group exhibitions, Dyer has carved out a distinctive place within the art world, inspiring audiences with her artwork and thought-provoking concepts. Her contributions to both the artistic realm and environmental advocacy continue to resonate, making her a trailblazer in the intersection of art and activism.