Spring Show

At 19 Haley Art Space, through May 31. Closing reception
Sunday, May 28.

Reviewed by Darian Bleecher

9haley.gifWhen Dennis Adderton opened the doors of
19 Haley
Art Space
, he did so with little fanfare — just a word-of-mouth
reception — and he has already rotated exhibitions once since
opening the gallery doors in February. But while Adderton’s first
show garnered notice from just a few sharp-eyed local aficionados,
the curious and fashion-forward who venture through the doors of 19
Haley this month are lured in by the whimsical pairing of Daniel
Landman’s paintings and Andriana Mitchell’s textile confections

Landman’s paintings combine paganism with a fantastical art
nouveau sensibility. From the psychedelic swirls of his early
triptych to the delicately nuanced more recent portraits, one can
see that Landman’s style is constantly evolving. His palette has
shifted as well, moving from muted browns and tans to rich jewel
tones — cherry reds, lush purples, and intense aquamarines. His
experience as a textile designer is evident in his beautifully
articulated fabrics and patterns. The women featured in Landman’s
portraits are primarily voluptuous nudes, which are in sharp
contrast to his gaunt self-portraits. One mesmerizing portrait
differs from the rest of Landman’s oeuvre — a woman serenely
stitching in a tropical setting. The cat sitting companionably by
her side is masterfully rendered in golden brushstrokes that subtly
shift to shadow with the viewer’s slightest movement, lending the
piece an overall tone of sun-drenched insouciance.

While Landman dominates the gallery walls, Andriana Mitchell’s
textiles provide a bold counterpoint. From afar, her pieces appear
to be eye-catching articles of clothing. Upon closer inspection, it
becomes evident that each piece is handcrafted entirely of
neckties. Collected over time by Mitchell from retail shops and
thrift stores, the ties are stitched, woven, or pieced into svelte
silhouettes, each with a trademark jagged “tie-point” hem. One coat
is a finely tailored A-line silhouette of gray- and silver-toned
ties, lined and cuffed with sumptuous black faux-fur. A shapely
gown sculpted from blue- and red-hued neckties graces the front
corner of the gallery. With its train fanning gracefully on the
floor and straps criss-crossing in the back, the dress is fit for a
diva. “Ties have traditionally been the ultimate masculine power
symbol,” Mitchell explained. “I feminize them and use them to
symbolize women’s gain in power.” A saucy red party dress and
Mitchell’s whimsical “vests” provide the perfect case in
point — the sexy halter tops, cobbled together entirely from ties,
are crowned at the throat with an expertly knotted

For more on 19 Haley Art Space, click here.


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