Hamiltonian Gallery and curator Rebecca Jones are pleased to present “Almost Surely, Almost Everywhere”, a group exhibition featuring works by Echo Eggebrecht, Ken Fandell, Billy Friebele and Hamiltonian Fellow Mike Dax Iacovone. The exhibition runs from August 8 until September 12, 2009, with an opening reception on Saturday, August 8, from 7 – 9 p.m.

Each of the artists in this exhibition investigates the experiential nature of humankind’s existence within a world of immeasurable space, infinite possibilities and continual journeys. The terms “almost surely” and “almost everywhere” are encountered in probability theory where questions involving infinity are posed. Through the use of physical acts, mediated images and painterly expressions of the mysteries of intangible space and time in our physical world, this group of works presents attempts to approach the stability of “sureness”, the absolute encompassment of “everywhere” and the enigmatic results of these endeavors.

Echo Eggebrecht’s psychological spaces are musings on subjects such as space travel and magic as well as representations of the myriad complexities of contemporary visual experience. The clues and symbols provided by the artist in her interiors suggest dark activity and possibly even phenomena related to the occult. Eggebrecht depicts imagery and uses a painterly technique that creates a distinct atmosphere highly obscured, though quite certainly familiar.In these scenes, Eggebrecht’s open-ended narratives leave the viewer with the sense that surely something must have occurred.

Ken Fandell’s multimedia projects explore both a dryly humorous and deeply resonant territory between the sublime and the vapid. As a viewer, one can clearly identify with his contemplations concerning everyday relationships to time, space and the concept of infinity, though the sensibility of Fandell’s images provide unusual perspectives and strange syntheses. In his video, The Most Important Picture Ever, Fandell sources the Hubble Ultra Deep Field, an image announced in 2004 by astronomers as the vdeepest portrait of the visible universe ever achieved by humankind,” amalgamates it with a “significant” image from the artist’s own library, and backs the video to a slow, remixed track from the iconic rock band, “The Who.” In this piece, Fandell continues to seek to connect what he refers to as “the proximate and the infinite.”

Inspired by the Situationist’s concept of the derive, Hamiltonian Fellow Mike Dax Iacovone and Billy Friebele work collaboratively in this exhibition to create a video documenting their physical experiment with “drifting and navigating” through a Philadelphian public urban space that neither artists are familiar with. Drifting, (or the derive as the Situationists called it) is an attempt at analysis of the totality of everyday life, through the passive movement through space. In the fist half of each journey, Friebele drifts through the space, without destination, dictated by the “walk/don’t walk” signals. The signals themselves are arbitrary, but act as the system of guiding through space, which facilitates the drifting. For the second half of each trip, Friebele navigates back to the beginning point based on expediency, and the knowledge of the space that he gained from the drifting.