Rodney Ewing and Tahiti Pehrson “What Kind of Cool (Will We Think of Next)”
Oct 14 — Nov 30, 2020
Check gallery website for hours and additional info
Rodney Ewing and Tahiti Pehrson, while working independently on public art pieces, have considered collaborating ever since bonding over the Isley Brothers’ song “For the Love of You.” Initially, they were scheduled to work together in residence onsite at The Space Program San Francisco, but shelter-in-place offered a new challenge. Instead, the artists created their part of the project and mailed it to each other to work on from a distance.
Based in San Francisco, Rodney Ewing creates drawings, installations, and mixed media works that focus on his need to intersect body and place, memory and fact to re-examine human histories, cultural conditions, and events. Ewing received his BFA in Printmaking from Louisiana State University and his MFA in Printmaking at West Virginia University. With his work he is pursuing a narrative that requires us to be present and intimate. His art has been exhibited at Euphrat Museum of Art in Cupertino, The Drawing Center in New York, and at the Museum of the African Diaspora in San Francisco. He has been an artist-in-residence at San Francisco’s Recology and the de Young Museum of Fine Arts, as well as Djerassi in Woodside, California, Headlands Center for the Arts in Marin, and Bemis Center for the Arts in Omaha, Nebraska.
Tahiti Pehrson is a Northern Californian artist with long ties to the Bay Area. His recent work explores the fragility and interconnectedness expressed by physical structures. Large scale installations of geometrical hand-cut paper are layered into three-dimensional structures. Pehrson has been working in paper for nearly fifteen years. Born in 1972 to artist parents in Santa Rosa, California, Pehrson began early life as a painter. Like many painters, he wanted to imitate light in such a way as to capture it. After traveling to Mexico, China and the museums of Europe in search of art, he moved to San Francisco to follow in the footsteps of his father by attending art school in the Bay Area. At the San Francisco Art Institute, Pehrson found himself increasingly disillusioned with painting as he was exposed to new ideas and modes of working. In reaction, he sought to “drop-out” of art and work in the streets with stickers and stencil making–a process that would evolve into a more developed and dedicated practice of paper-cutting, and also beginning a new process of public engagement.