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April 22 – July 1, 2007


The physical and psychological processes of assembly are explored in Constructions, an exhibition of collages, found objects and installations by Bay Area artists Jenny Honnert Abell, Marya Krogstad, and Thomas Morphis.  The artists, selected from the Fall 2006 Members’ Showcase finalists, gather disparate materials including architectural features, magazine clippings, fabric and twigs to create works that convey experiences of memory, loss, whimsy, and regret.

The physical properties of the materials Santa Rosa artist Jenny Honnert Abell employs, and the meticulous process of re-interpreting their meaning by altering their physical context fascinate her.  While possessing a seeming obsession with matter, Abell’s art also assembles myriad expressions, often with a whimsical, other times sinister, wit.  Referencing the Surrealist masters, Abell transforms the recognizable—fingers, eyes, birds—into new incarnations with often surprising and provocative results.

San Francisco artist Marya Krogstad builds upon notions of identity informed by her own experience as an transracially adopted child, born in Korea and raised in California’s Central Valley.  Exploring a “cultural third space”, Krogstad’s personal recollections of youth are told through assimilated objects—some actual remnants from her childhood—that speak to an unreconciled identity, perpetually seeking familial and cultural connection.  Her body of work is diverse, including packing tape and mixed media sculptures, architectural installations, and a “self-help” painting series.

Early in his artistic career—while still a student at Cranbrook Academy of Art in Michigan—Thomas Morphis learned to freely associate with many creative forms and techniques, including ceramics and architecture.  Morphis’ response to varied stimuli continues, reflected in his densely textural work.  Recently, and in part due to extensive experimentation with layering resin, Morphis’ work has materialized into multi-layered collages, often incorporating figural drawing, technical renderings, newspaper clippings and other inspirations.  The additional dimension of layering heightens the relevancy of Morphis’ juxtapositions, which much like the human mind, build retained experiences into a complex memory structure.  Like memory, some of Morphis’ visual references are readily identifiable while others exist in a sub-conscious realm which suggest associations and recollections unique to, yet shared by, both artist and viewer.


Jenny Honnert Abell
Marya Krogstad
Thomas Morphis