When we think of the word turbulence, certain words come to mind—movement, disarray, chaos, disruption, and commotion are just a few that resonate. When we consider the term turbulence in relation to how we view art, it takes on a different meaning in a visual context where it is brought to life through imagery and expression. The recent exhibition Turbulence at Lichtundfire, curated by Priska Juschka, offers a compelling interpretation of this concept, inviting viewers to reflect on what turbulence means when experienced through art. The exhibition showcases the work of six accomplished artists: Carol Boram-Hays, Augustus Goertz, Don Keene, Victoria Lowe, Richard Goltry, and Robert Solomon. Each artist offers a unique and deeply personal interpretation of what a state of disruption means to them, inviting viewers to engage with their distinctive perspectives and creative expressions.
Among the works featured, one artist who stood out to me for masterfully encapsulating the essence of turbulence was Don Keene. Keene’s work emerges from a space of push and pull within the context of our daily lives. When we are constantly searching for ways to nurture ourselves and others while struggling to keep up with the relentless pace of everyday life, how do we not lose our sanity? How do we avoid getting lost in the chaos? While Keene’s work may not provide a direct answer to these questions, it offers a visual representation of the struggle to find balance while being acutely aware of the surrounding turmoil. This sentiment is vividly present in his piece Globe Top Tendencies, where variations of incomplete figures appear to merge together, brought to life through bright, contrasting colors and dynamic, varied brushstrokes. Similar to a fragmented memory or an incomplete thought, the figures feel as though they are in motion, yet they perfectly capture the juxtaposition between peace and chaos. In his other piece, From Bad to Worse, we see a similar dynamic, where he seems to be attempting to establish a direct connection with the viewer. It’s almost as if the imperfect figures are reaching out, trying to escape the chaos, while the viewer calmly observes the turmoil unfold. Other works by artist Carol Boram-Hays allude to this concept of turbulence through representations of the merging of the natural and manufactured world.
Carol Boram-Hays is no stranger to the chaos that Don Keene alludes to within his work. As society continues to move towards an uncertain future, we cannot help but think about the environmental damage we have done to the world around us while nature somehow chooses to persevere through it all. While humans have used natural materials for quite some time, our use of concrete is symbolic of our relationship with the natural and unnatural worlds while also acting as a marker of our impact within the Anthropocene. Boram-Hays’ piece, Swirl, presents a serpent-like form crafted from cast concrete, reclaimed metal, and pigments. This striking work envisions a future shaped by evolution, where familiar creatures transform into altered beings that are unrecognizable. This same vision can be seen in her work Effervesce where we can imagine a mollusk that has evolved past the point of recognition into something beautifully frightening. Boram-Hays’ work resonates deeply with me because, as we grapple with an uncertain future regarding our environment, it compels us to examine the present—understanding the actions that might shape what lies ahead—and reflect on the past to avoid repeating mistakes that could jeopardize both the present and the future world. Boram-Hays’ work equally critiques our impact on the environment as humans while pointing to nature’s persistence despite the continued destruction it experiences. Her work shows us that nature does not have a plan, rather it chaotically consumes and insists upon itself.
Victoria Lowe’s work does something similar in showing how unique representations of the environment can challenge and reshape our perceptions of both the world around us and ourselves. Lowe takes a mixed media approach with her work combining fluorescent light and canvas to create a portal to a vaguely familiar realm while simultaneously honoring the environment we inhabit. As part of her mixed media series, Magma explores the concept of a natural home where flora, fauna, and organisms of all sizes can thrive. While her pieces evoke destruction, they also carry a subtle constructive element that isn’t immediately apparent. Magma, for example, obliterates everything in its path, yet once it cools, it nurtures the growth of new life from the ashes. This piece, along with the rest of the series, offers conceptual interpretations of naturally occurring phenomena as reflections of the environments we live in. Magma also serves as a metaphor for the unseen energy within us—seeking eruption but capable of transformation into a force for growth and renewal.
The exhibition as a whole felt virulent yet carried an underlying sense of peace and poise. The artists featured in Turbulence invite viewers to glimpse into the recesses of their minds, offering a peek into the disjointed and disquieting universes they have constructed. Unlike the surrealist worlds of Salvador Dalí or Leonara Carrington, the chaotic realms created by the artists in Turbulence demand deeper interpretation and reflection, abstracting into forms that feel familiar and recognizable yet remain fragmented and incomplete. This is evident in the work of artists like Augustus Goertz, whose textural pieces evoke alien-like landscapes on canvas; Robert Solomon, whose subconscious paintings oscillate between organic forms and geometric structures; and Richard Goltry, whose collages construct disorienting, space-like terrains. Together, the artists in Turbulence not only delve into the theme of volatility but also thoughtfully reveal how we might approach it with a sense of peace and introspection.
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