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Chronolith Gross McCleaf Gallery Philadelphia

November 16- December 23, 2023

Gross McCleaf Gallery, Philadelphia

Photos: Adrian Cubillas & Gross McCleaf Gallery

Glyph 1 Low Relief Painting 48 x 52 inches

Glyph 1, 2023, oil, acrylic, and papier mache on panel, 48 x 52 inches (diptych)

Glyph 2 Low Relief Painting 48 x 52 inches

Glyph 2, 2023, oil, acrylic, and papier mache on panel, 48 x 52 inches (diptych)

Low relief painting 12 x 12 inches, bricks with a soft colorful striped patterns
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2023
oil, acrylic, and papier mache on panel
12 x 12 inches
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Circumpoint painting oil on canvas 60 x 40 inches

Circumpoint, 2023, oil on canvas, 60 x 40 inches

60 x 40 painting titled Circumpoint with detail show, thick paint in tiled areas
installation shot & details: Circumpoint, 2023, oil on canvas, 60 x 40 inches
column painting 12 x 12 gray column on green background with black and white tiles
Low Relief painted tiles like a mosaic. Black and white tiles in a target shape
Column, 2023, oil on canvas, 12 x 12 inches & Circumpoint Study, 2023, oil on panel, 12 x 12 inches

“My work seeks to find throughlines from the ancient past to present to future. I want to know how things change through time and how they stay the same.”

-excerpt from History Eats Itselfinterview with Elizabeth Johnson

Source Code painting 8 x 10 inches oil on canvas

Source Code, 2023, oil on canvas, 8 x 10 inches

Proto-Primrose painting 24 x 18 inches oil on canvas

Proto-Primrose, 2023, oil on canvas, 24 x 18 inches

cave-felem-and-analog-arrangement - two paintings 14 x 11 inches oil on canvas

Cave Felem, 2023, oil on canvas, 14 x 11 inches  &  Analog Arrangement, 2023, oil on canvas, 14 x 11 inches

Pompeii Projection 18-x-24 inches painting oil-on-canvas

Pompeii Projection, 2023, oil on canvas, 18 x 24 inches

console sculpture, one side with buttons and the other side with a pixelated painting of a castle

Console, 2023, oil, acrylic, and papier mache, 14 x 9.5 x 6.5 inches

Console

2023

oil, acrylic, and papier mache

14 x 9.5 x 6.5 inches

Fountain 3 - DigiWells
2023
oil on canvas
24 x 12 inches

Fountain 2 - Techno Falls
2023
oil on canvas
24 x 12 inches
two paintings of fountains. one with blue squares for the fountains two basins and the other with spraying arches of water.
two fountains paintings side by side, one with rough oval shapes and a triangle spout that sprays water. The other with three oval basins and a background of black and white tiles.
Fountain 5 - The Oracle
2023
oil, acrylic, and papier mache on canvas
24 x 12 inches

Fountain 6 - ArchaeoAqua
2023
oil on canvas
24 x 12 inches
Fountain Streaming 24 x 12 inches painting gross mccleaf

Fountain 7 - Streaming, 2023, oil on canvas, 24 x 12 inches

Fountain 4 - Mythic Springs
2023
oil on canvas
24 x 12 inches

Fountain 1 - Cybernetic Cascade
2023
oil on canvas
24 x 12 inches
Two fountain paintings, one with humor small water spouts and another with a cascade of water from the top to bottom of five basins of water
The entire series of 24 x 12 inches fountain paintings - there are seven paintings in total, currently in this series

Foutain Series 1 - 7, 2023, oil, acrylic, and papier mache canvas, 24 x 12 inches

Reflector 24 x 18 inches oil on canvas painting

Reflector, 2023, oil and papier mache on canvas, 24 x 18 inches

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Installation shot Gross McCleaf Gallery art exhibition
Installation shot Gross McCleaf Gallery art exhibition
Installation shot Gross McCleaf Gallery art exhibition

Full Exhibition

Press Release from Gross McCleaf Gallery, Nov 2023

“My work seeks to find throughlines from the ancient past to present to future. I want to know how things change through time and how they stay the same.”

- Morgan Hobbs

Gross McCleaf Gallery is pleased to present Chronolith, Morgan Hobbs’ first solo exhibition in Philadelphia and with the gallery.     

Guest writer Lauren Whearty says: “Hobbs’ body of work focuses on the slow and methodical process of building a language - a new form of communication through paint, papier-mâché, and image. Each symbolic form is a building block for a wide array of possibilities with the potential to make new meaning through different combinations, or to break down the strength of an individual symbol into a more democratic piece of a larger whole.

While I recognized many of the symbols from her previous bodies of work, like the interiors in her Bell the Cat series, the forms now exist on their own free to roam the studio and assert themselves as sculptures and whole compositions in dimensional paintings. The forms are still understood as ornamental symbols, however, the mass of the sculptures and the dimensional qualities in the paintings give a more architectural feeling and weight to each glyph. The duality of the actual weight vs the perceptual weight is just one of the many elements of tension presented in this work. The works also perform a balancing act between painting and sculpture, and between the single vs the many.

Hobbs doesn’t give us the opportunity to fully grasp these works in any one sitting. Like investigating a lost civilization, we cannot ask the people questions, and Hobbs doesn’t give us all of the answers. We are given a rich body of material and symbolic language to navigate and interpret on our own. As the viewer, we are also the ones who complete the meaning through our own relationships with the symbols and our experience with the art. In art, life, and archeology we are limited to our own perspectives and time periods. Hobbs makes that a point of excitement,” (Whearty’s statements have been lightly edited for style and length).

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View on the Gross McCleaf Website

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