55″ x 43″ oil and acrylic on canvas $12000
available to view in CHARLOTTE
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BRYCE SPEED BIOGRAPHY
Born in Hattiesburg, Mississippi in 1978, Bryce Speed completed his B.F.A. in painting and drawing from the University of Mississippi in 1999 and continued his studies to eventually receive his M.F.A. in painting from the University of Alabama in Tuscaloosa in 2005. After finishing his education Speed completed a six-week artist in residency program at the Kimmel Harding Nelson Center for the Arts in Nebraska City, Nebraska. From then on Speed’s work has been included in numerous exhibitions over the past decade.
In 2006 and 2011 his work was selected for publication in New American Paintings Southeastern and Western editions. In 2014, he was part of a three-person exhibition at HERE Art Center in New York, NY, titled Suburbia: Is Anyone There? In 2015-16 he exhibited at the Royal Scottish Academy Open Exhibition in Edinburgh, Scotland and at the Visual Art Exchange’s Contemporary South Exhibition in Raleigh, NC. In 2017, he held a solo exhibition at the North Wall Arts Center in Oxford, UK. In 2022 his work was curated into the exhibition A Plot, Hatched by Two at the Warbling Collective in London and his work was curated in to Art of the South 2022 at the Zeitgeist Gallery in Nashville. He is currently represented by The George Gallery, Charleston SC and Charlotte NC, and the Cole Pratt Gallery in New Orleans, LA.
Speed resides in Tuscaloosa, Alabama where he has been an Associate Professor of Art in Painting at the University of Alabama since 2014. The Mississippi native previously taught at University of Nebraska at Omaha and Central Community College in Columbus, Nebraska.
Bryce Speed is a multi-medium painter whose work focuses on speaking the unspoken language of visual art through his abstract images. In a recent statement Speed said, “I create paintings that are simultaneously both abstract and representational. These works are occupied with a larger idea of structure and parts, creating an image of containment and movement. Each piece uses a personal pictogram language that is steeped in the intersectionality of nostalgia, identity, and early twentieth century abstraction. Through this visual language, I seek to classify and organize the memories and experiences that pervade the everyday.”
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ALLISON GILDERSLEEVE BIOGRAPHY
Gildersleeve received her MFA from Bard College in 2004, and her BA from College of William and Mary in 1992. Gildersleeve has exhibited widely across the United States and abroad. Notable solo exhibitions include Olle Nymans Ateljeer (Stockholm, SE), Asya Geisberg Gallery (New York, NY), Auxiliary Projects (Brooklyn, NY), Robischon Gallery (Denver, CO), Cynthia Reeves (Walpole NH), Valley House Gallery (Dallas, TX), The George Gallery (Charleston, SC) and Galleri Andersson/Sandstrom (Stockholm, SE). Selected group exhibitions include Hudson Valley Center for Contemporary Art (NY), CRG Gallery (New York, NY), PS122 (New York, NY), Sharon Arts Center (Peterborough, NH), Dunkers Kulturhus (Helsingberg, SE) and Gana Art Space (Seoul, Korea). Gildersleeve was a 2018-2019 recipient of The Sharpe-Walentas Studio Program in Brooklyn, NY. She has been awarded a NYFA Fellowship as well as residencies at Yaddo, the Millay Colony, the Vermont Studio Center, the Liquitex International Research Residency in London, and the Norman Bird Sanctuary in Newport RI. Gildersleeve lives and works in Brooklyn, NY.
Behind Allison Gildersleeve’s canvases, collages, and drawings lies a singular proposition: places are not inert. They are repositories for all that passes through them. Gildersleeve returns again and again to familiar settings – wooded areas, home interiors, open highways, back country roads – to show that repeated visits to the same place invariably result in wildly divergent depictions.
Gildersleeve describes her process as such: I assemble and disassemble my images so that unlikely situations collide in the same plane. My studio practice mimics the way I process events around me. Logical space and linear time get tangled through my conflicting impulses to stay or escape either by racing forward or turning back. A bicycle leaning against a wood shed, a table littered with the remnants of breakfast, a darkened living room, an unmade bed, these tiny moments of insignificance take on the gravity of remembrance, as if they held the possibilities of a thousand different outcomes instead of the actual unfolding of events. .
Each studio day, I add ink drawings to my sketchbooks, distilling everyday objects and the landscape around me into line and silhouette. I use that growing library of personal iconography in the paintings as if they were props in a stage set, moving them around and rearranging their order until they bump up against each other in such a way that their origin becomes transformed. A vase, a doorframe, a clump of rocks and weeds, a parked car: each serves as a marker to me for a certain place, but those markers lose their stability when I shuffle them randomly into the deck. I don’t know how else to confront the messiness of living except by packing it with abandon into a single frame.
