Frontward Tilt

Exhibition curated as Collin Pressler for 4th Ward Project Space, June 7, 2015 – July 5, 2015. Featuring work by Ramsey Alderson, Jeremy Biles, Ph.D, and Ryan M Pfeiffer + Rebecca Walz.

about the exhibition
Frontward Tilt assembles a group of four artists whose work incites precarity and addresses “the tilt” as both a formal strategy and disruptive symbolic operation. The work of these four artists examines the tilt and its constellation of related terms (lunge, tumble, slip, pitch, slant, lean…) as a function of fractured or collapsed pictorial space and dimensional ambiguity. A shifting body of interconnected references pervades the work and serves this end: voyeur, creeper, spy; bull, bull­god and matador; The “Mirror of Tauromachy” and the “Mademoiselle V.” Inspired by a Bataillean meditation on Manet’s “Fish (Still Life)” (1864), Frontward Tilt embraces historically displaced imagery via ulterior reads and free association, and indulges lowness ­both as a vantage and a practice.

The exhibition theme was first explored in a review of Ramsey Alderson’s solo show “All That She Wants” at Front Room in December 2014 – “Imagine a glistening eel or gun-metal sea bass sliding off the urgently painted table cloth of a largely obscure Manet. This painting pitches forward, pushing chins up and knees to the floor. This is not so plainly the Modernist frame as an invitation to fellatio, a symbolic function of space whereby elevation corresponds to spiritual levity (rings of angels, etc.) or the organization of power; it is the uniform, downward slide of the picture’s contents, an ‘invitation to lowness’, an emptying out of content.”

from left to right: Jeremy Biles, “Ariadne’s Thread,” Digital print with graphite and wax crayon on newsprint with velvet veil (2015); Jeremy Biles, “The Sensation of Time,” Digital print with graphite, colored pencil, and collage on newsprint with velvet veil (2015); Jeremy Biles, “Mirror of Tauromachy,” Digital print with graphite, colored pencil, and semen on newsprint with velvet veil (2015); Rebecca Walz + Ryan M. Pfeiffer, “Annunciation,” Chalk lead, and charcoal (2015)

from left to right: Jeremy Biles, “Ariadne’s Thread,” Digital print with graphite and wax crayon on newsprint with velvet veil (2015); Jeremy Biles, “The Sensation of Time,” Digital print with graphite, colored pencil, and collage on newsprint with velvet veil (2015); Jeremy Biles, “Mirror of Tauromachy,” Digital print with graphite, colored pencil, and semen on newsprint with velvet veil (2015)

from left to right: Jeremy Biles, “Ariadne’s Thread,” Digital print with graphite and wax crayon on newsprint with velvet veil (2015); Jeremy Biles, “The Sensation of Time,” Digital print with graphite, colored pencil, and collage on newsprint with velvet veil (2015); Jeremy Biles, “Mirror of Tauromachy,” Digital print with graphite, colored pencil, and semen on newsprint with velvet veil (2015); Rebecca Walz + Ryan M. Pfeiffer, “Annunciation,” Chalk lead, and charcoal (2015); Rebecca Walz + Ryan M. Pfeiffer, “The Labyrinth,” Graphite, chalk lead, colored pencil, charcoal, iron oxide, and gold leaf (2015); Rebecca Walz + Ryan M. Pfeiffer, “The Adjustment,” Graphite, chalk lead, water color, colored pencil, charcoal, and gold leaf (2015)

from left to right: Ramsey Alderson, “Untitled,” Photograph (2015); Jeremy Biles, “Ariadne’s Thread,” Digital print with graphite and wax crayon on newsprint with velvet veil (2015); Jeremy Biles, “The Sensation of Time,” Digital print with graphite, colored pencil, and collage on newsprint with velvet veil (2015); Jeremy Biles, “Mirror of Tauromachy,” Digital print with graphite, colored pencil, and semen on newsprint with velvet veil (2015)

from left to right: Rebecca Walz + Ryan M. Pfeiffer, “The Labyrinth,” Graphite, chalk lead, colored pencil, charcoal, iron oxide, and gold leaf (2015); Rebecca Walz + Ryan M. Pfeiffer, “The Adjustment,” Graphite, chalk lead, water color, colored pencil, charcoal, and gold leaf (2015); Ramsey Alderson, “Untitled,” Photograph (2015); Ramsey Alderson, “Untitled,” Photograph (2015)

from left to right: Ramsey Alderson, “Untitled,” Photograph (2015); Ramsey Alderson, “Untitled,” Photograph (2015)