Mayer/Peoples at Gallery 337: Hot Summer Brilliance
Gallery owner Tom Duimstra has put together a show by two of the region’s most thought-provoking artists with sometimes formal, frequently humorous, and most often provocative works of art.
Grand Rapids has entered that phase in the summer where ArtPize venues and the artists connected to 180 sites are working toward that big moment in September, when the local art world focuses on three weeks of exhibitions, public art, and nightly celebrations. One would think that because of this anticipation, cultural stimulation for the region would be a bit slow for the summer months of July and August.
But 337 Project Space, at 337 South Division, opened and operated by artist Tom Duimstra, has put together a show by two of the region’s most thought-provoking artists, Billy Mayer and Michael Peoples. Duimstra himself exhibits regionally and in Brooklyn. It was there, in Brooklyn, that he witnessed first-hand the importance of pop-up independent galleries for the Brooklyn scene, and decided GR needed a version of its own in West Michigan’s ever growing visual arts community.
The exhibit Mayer/Peoples consists of two works by each artist, and they could not have been more suitable together than in these sometimes formal, frequently humorous, and most often provocative works of art.
Billy Mayer has two fascinating works that at first glance seem to be found objects related to the production of sound. “Multum In Parvo” is a visual magic trick dedicated to the sleight-of-hand McKinley Morganfield, aka Muddy Waters. It’s a 3-D trompe-l’oeil rendering of a small Fender guitar amp, much like the ones that electrified the blues generation that so influenced rock and roll. In this case, the amp literally floats in the space, where it can be seen from the window at the front of the gallery. Atop the amp hovers a deck of cards and cigarette that appears to be lit. While this addition may not be needed to pull off the true magic in this work, one swears that Water’s fuzzy electric guitar sound is engulfing the space.
Mayer’s “WOS (for Phil Spector)” riffs on Spector, the record producer responsible for the “Wall of Sound” from the Ronettes to Leonard Cohen to the Ramones, and fills an entire wall in this intimate and appealing gallery. Hanging flat-faced against the wall, all sizes and shapes of speakers are exposed, from minute treble to super woofer bass. Contemporary to antiquated in their technical intentions, the speakers unmask the physical elements that were always hidden in acoustically constructed cabinetry. But this is where realism is joined by synesthesia. All are made of foam cored paper and cardboard, with the surfaces covered in organic materials: invitingly aromatic ingredients that range from brown sugar, basil seeds, and red pepper flakes to curry powder and cannabis. As Mayer says, “Music is described as that sweet sound, or that jazz riff is hot.” WOS delivers the full range of sensory response.
Michael Peoples’ series of “paintings,” all “Untitled,” are four square format wall works that appear as formal abstract compositions. They are weave-patterned and dance with a sense of color that seems to move on the surfaces, Broadway Boogie-Woogie-esque. What is fascinating about these surfaces is that they are made of the nylon webbing found in everyday lawn furniture that lives in our backyards and public beaches. Mounted on thick stretcher bars, these very optically demanding works transform the everyday materials into readable abstract language — a language so beautifully composed Mondrian might have been envious. With Peoples’ knack for considerable tongue-in-cheek relationships with his materials, he may even feel the slightest discomfort in creating these perfect compositions.
If the “Untitled” series’ abstract perfection makes Peoples the slightest bit uncomfortable, then he hits his stride head on with “Aural Fixation.” In a four-paneled work, a series of trophy-heads, from bowling champions, baseball stars, to track & field victors comprise a ring, some 100 strong in figurative golden objects. All face toward the outer perimeter of the work, four plywood bases mounted on the wall. The patterns have amazing movement for such frozen postured figures. But the movement pushes away from center, a ground zero like empty space, inhabited only by drilled holes that populate the entire surface. The empty holes give the illusion that the golden figures can move like chess pieces across the surface. In the case of these figured victors, the movement becomes one of fleeing the center in an apocalyptic bolting of escape.
To see the exhibit Mayer/Peoples, up through the month of July, visit the gallery July 16 from 2 to 5 p.m. or July 23 from 1 to 4 p.m., or contact the gallery at 616.828.3944 for an appointment.
