What defines a landscape? Is it rolling hills or a copse of oaks flanking the fixed horizon of a sunrise or sunset? The rocky crags of mountain ranges stretching vertically from surrounding grasslands? Landscape as a genre has come to be defined chiefly by what the eyes connote, but what happens when we remove our eyes from the equation?
Even though spring, the glorious season of new life, is finally here, death is never far away—in fact, it’s on display at Hamiltonian Gallery. Two concurrent shows, “Spread” by Allison Spence and “Hot Water” by Jim Leach, take up death as a powerful creative tool.
Fire consumes, but also transmutes, and can clear territory for renewal. Allison Spence didn’t torch anything for “Spread,” but her Hamiltonian Gallery show was inspired by Pando, a Utah forest that benefits from periodic burns. The single-rooted Aspen-tree colony is a vast clonal organism — its name is Latin for “I spread” — thought to be at least 80,000 years old and now at risk of death...
In separate Hamiltonian Gallery shows that dovetail conceptually, Nara Park and Dane Winkler consider links between nature and technology. The entrance is through Park’s “Between Millions of Years,” which stacks transparent plastic boxes in emulation of a rocky gorge in an Australian national park. It’s not exactly a grand canyon, since the building blocks are commonplace, unnatural and scaled to a gallery, not to all outdoors. And yet the narrow passageway does produce a strong sense of place.