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Two artists take risks at gallery
Fiore, who Pollard describes as a soon-to-be art star in New York, freely jumps from idea to idea and adapts her work accordingly. In the past two years, she has made time-lapsed photographs of video games, created dynamic patterns on paper with fireworks and built a life-size tree out of 5,500 Royal Pine Air Fresheners. The tree was displayed at Socrates Sculpture Park in Queens last summer. She has also produced intricate ceramic sculptures in which her own versions of Wile E. Coyote and Roadrunner escapades played out. As evident in the Richmond gallery’s installation, where samples of these and other obsessions are displayed, no visual or conceptual connections are evident — only a prankishness that sometimes results in visual success.
Sandra Luckett’s contribution, while limited to three painting and fiber optic constructions, displays a similar interest in risk taking and nonconformity. Integrating numerous sensual stimulants such as a monotoned but textured surface — pulsing beads of light built into the image, and in one work, music that influences the fiber optics to illuminate according to its treble — the artist challenges viewers to absorb the experience through multiple channels rather than take it in with eyes alone. Luckett’s effort with electronics appears in its infant stage here, and at this point, it’s not as satisfying as some of her former work with a camera. But like Fiore’s high-energy experiments, Luckett’s art defies predictability. That’s better than sticking with what’s safe any day. — Paulette Roberts-Pullen
Sandra Luckett’s contribution, while limited to three painting and fiber optic constructions, displays a similar interest in risk taking and nonconformity. Integrating numerous sensual stimulants such as a monotoned but textured surface — pulsing beads of light built into the image, and in one work, music that influences the fiber optics to illuminate according to its treble — the artist challenges viewers to absorb the experience through multiple channels rather than take it in with eyes alone. Luckett’s effort with electronics appears in its infant stage here, and at this point, it’s not as satisfying as some of her former work with a camera. But like Fiore’s high-energy experiments, Luckett’s art defies predictability. That’s better than sticking with what’s safe any day. — Paulette Roberts-Pullen
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