Community Calendar

Jian’s Cell Series installation includes elements of collage and various drawing techniques to depict seemingly unrelated images. Inspired by the format of personal scroll paintings, where the movement of time is compressed without the feeling of an end, Jian’s works highlight ephemeralness. At times the individual images engage with one another or float independently in a sea of translucence. Shunning the conventional means of presenting works on paper, the artist constructs presentation devices that engage the unique spaces and constantly transform the works as the light of the day shifts with time.

The Texas Church Project began as an exhaustive survey of the more than 15,000 churches in Texas. Utilizing Google Street View, the artist collected some 2,000 images that fruitfully served as a trajectory in his endeavor. For the second aspect of the project, Rothfuss created large-scale paintings, emphasizing the relationship between the building and landscape. For these, no attempt was made to hide the source of the images, and in fact the keys, maps, and watermarks of the original screen save are included in the final work. Finally, Rothfuss transformed the digital images into three-dimensional models of churches that project from the wall as reliefs.

Jian’s Cell Series installation includes elements of collage and various drawing techniques to depict seemingly unrelated images. Inspired by the format of personal scroll paintings, where the movement of time is compressed without the feeling of an end, Jian’s works highlight ephemeralness. At times the individual images engage with one another or float independently in a sea of translucence. Shunning the conventional means of presenting works on paper, the artist constructs presentation devices that engage the unique spaces and constantly transform the works as the light of the day shifts with time.

The Texas Church Project began as an exhaustive survey of the more than 15,000 churches in Texas. Utilizing Google Street View, the artist collected some 2,000 images that fruitfully served as a trajectory in his endeavor. For the second aspect of the project, Rothfuss created large-scale paintings, emphasizing the relationship between the building and landscape. For these, no attempt was made to hide the source of the images, and in fact the keys, maps, and watermarks of the original screen save are included in the final work. Finally, Rothfuss transformed the digital images into three-dimensional models of churches that project from the wall as reliefs.

Jian’s Cell Series installation includes elements of collage and various drawing techniques to depict seemingly unrelated images. Inspired by the format of personal scroll paintings, where the movement of time is compressed without the feeling of an end, Jian’s works highlight ephemeralness. At times the individual images engage with one another or float independently in a sea of translucence. Shunning the conventional means of presenting works on paper, the artist constructs presentation devices that engage the unique spaces and constantly transform the works as the light of the day shifts with time.

The Texas Church Project began as an exhaustive survey of the more than 15,000 churches in Texas. Utilizing Google Street View, the artist collected some 2,000 images that fruitfully served as a trajectory in his endeavor. For the second aspect of the project, Rothfuss created large-scale paintings, emphasizing the relationship between the building and landscape. For these, no attempt was made to hide the source of the images, and in fact the keys, maps, and watermarks of the original screen save are included in the final work. Finally, Rothfuss transformed the digital images into three-dimensional models of churches that project from the wall as reliefs.

Jian’s Cell Series installation includes elements of collage and various drawing techniques to depict seemingly unrelated images. Inspired by the format of personal scroll paintings, where the movement of time is compressed without the feeling of an end, Jian’s works highlight ephemeralness. At times the individual images engage with one another or float independently in a sea of translucence. Shunning the conventional means of presenting works on paper, the artist constructs presentation devices that engage the unique spaces and constantly transform the works as the light of the day shifts with time.

The Texas Church Project began as an exhaustive survey of the more than 15,000 churches in Texas. Utilizing Google Street View, the artist collected some 2,000 images that fruitfully served as a trajectory in his endeavor. For the second aspect of the project, Rothfuss created large-scale paintings, emphasizing the relationship between the building and landscape. For these, no attempt was made to hide the source of the images, and in fact the keys, maps, and watermarks of the original screen save are included in the final work. Finally, Rothfuss transformed the digital images into three-dimensional models of churches that project from the wall as reliefs.

Jian’s Cell Series installation includes elements of collage and various drawing techniques to depict seemingly unrelated images. Inspired by the format of personal scroll paintings, where the movement of time is compressed without the feeling of an end, Jian’s works highlight ephemeralness. At times the individual images engage with one another or float independently in a sea of translucence. Shunning the conventional means of presenting works on paper, the artist constructs presentation devices that engage the unique spaces and constantly transform the works as the light of the day shifts with time.

The Texas Church Project began as an exhaustive survey of the more than 15,000 churches in Texas. Utilizing Google Street View, the artist collected some 2,000 images that fruitfully served as a trajectory in his endeavor. For the second aspect of the project, Rothfuss created large-scale paintings, emphasizing the relationship between the building and landscape. For these, no attempt was made to hide the source of the images, and in fact the keys, maps, and watermarks of the original screen save are included in the final work. Finally, Rothfuss transformed the digital images into three-dimensional models of churches that project from the wall as reliefs.