Maher at the Carnegie

Within the process-style of artistic creation, there are essential continuous acts of destruction. Every addition of paint or wood (or whichever material an artist uses), in the transformation and development of the composition, results in the destruction of the previous one. This methodology is in opposition to the conception of artmaking in which an artist 'manifests' an idea: here, it is an idea that is born out of the process itself. The methodology demands a faith in the capacity of the artist to make leap upon leap: that his or her hand will make an improvement upon the made. It is what separates an active master artist from an amateur: the amateur is seduced by the lesser product, and considers it finished; the master knows it can be taken to a more forceful level, and destroys, again and again.

In the case of Dennis Maher's Farrer Mansion Project, the act of destruction (demolition) of buildings worked twofold for the development of his opus: it provided the materials, and strengthened his hand (in the figurative sense) to make forceful sculptures and installations. Maher worked directly as a laborer in the demolition of old buildings; subsequently, he transformed the demolished materials into new works. It is one of those rare moments in which an artists' work environment fortifies his creative methodology.

On display at the Carnegie is the wall sculpture Crossing 2 (2004), a piece that has survived the end of the project (at least as presented here). It rests on the north wall, accompanied by compositions of partially-painted collaged documentary photos of similar works and installations. These latter works are somewhat overwhelmed by Crossing 2; though they strive to be artworks in themselves, they are undermined by being in part images of something (i.e. they feel like signifiers). Crossing 2 brings together the best of composition: texture, movement, and balanced tonality, with an undeniable feeling of surging (or rather resurgent) energy. It is the visible process of his demolition/creation, both as recovered material and the capacity to spiritedly manipulate his materials in an aggressive and powerful manner.
- A.C. Frabetti

'Impressions' at The Carnegie, celebrating the works of the Print Club of Northern Kentucky University, Dennis Maher, Ki Jong Do, Christian Schmit, Mary Gaynier, and the photography of local students, 1028 Scott Boulevard, Covington, KY 41011. Telephone: 859.491.2030. Gallery Hours: Monday - Friday 10am - 5pm, Saturday 12pm – 3pm. Through June 25, 2010.
Image: Maher, Dennis. Crossing 2 (2004). Mixed media. Photo courtesy of the artist.
Visit Maher's project by clicking here.