Trey Duvall

Chromatic Cogitations. Rhythm Reboot, a group exhibition at RedLine Contemporary Art Center, is the result of a year-long conversation and exploration between past and present RedLine resident artists. Contemplating color and cadence, the exhibition reveals similarities between seemingly disparate artists working within an engaged creative space, RedLine, while emerging from the disruption of a global pandemic.

The curatorial vision for the group exhibition Chromatic Cogitations, Rhythm Reboot is one of unity and connection, where the singular works by RedLine artists converge into non-traditional exhibition zones. Visitors are encouraged to navigate the space as a singular encounter, forming their own narrative about the selection and placement of artworks while being energetically uplifted by synergistic colors, sounds, voices, rhythms, movements, and performances in this community-centric cultural space.

Chromatic Cogitations: Rhythm Reboot brings together thirty artistic voices that employ a variety of colors, images, and artistic strategies to reset the rhythm of their individual practices. Viewed collectively, their work responds to shifting political and societal pressures while referencing art historical positions from the 1970s through today that mobilized postcolonial movements, the recognition of outsider art, and formed expressions of radical social emancipation. Their content includes passionate responses to climate change, ecosystem loss, blackness and masculinity, heritage, legacy, hierarchy, and the emergence of gender stories that have hitherto been silenced and rendered invisible.

If we are witnessing the global scale of systemic injustice at an unprecedented scale, we are also assisting the impressive growth of alliances of transnational resistance movements. Chromatic Cogitations. Rhythm Reboot is traversed by unique poetics of relations, where acts of determination coexist and are expressed through multidisciplinary practices. The artists make use of dynamic media such as dance, film, music, and video that attest to ephemeral civil choreographies and activate collaborative and archival processes. Through material use of non-hierarchical recycling, collaging, sampling of collective and personal imagery, they postulate worlds as vital assemblages of multiple cultural influences and temporalities, disrupting biased mainstream narratives and representations.

Special thanks to the Andy Warhol Foundation for the Visual Arts, Bonfils-Stanton Foundation, David & Laura Merage Foundation, National Endowment for the Arts, National Performance Network, and the Scientific & Cultural Facilities District.

-Rosie Gordon-Wallace , Founder & Chief Curator, Diaspora Vibe

The Arvada Center

Word Play showcases a selection of works that use text, language, and symbols to make a statement, express emotion, and celebrate the written word. From paintings to video games, neon to sculptures, and prints to silverpoint drawings, the versatility of language is on full display through the work of these regional artists.

Participating Artists:

Trey Duvall

Lares Feliciano

Donald Fodness

Paula Gasparini-Santos

Jade Hoyer

Jim Johnson

Sammy Lee

Cherish Marquez

Tom Mazzullo

Joe Norman

Jeff Page

Masha Sha

Joel Swanson

Paul Weiner

Scott Young

One by One

Sasha Alexandra, Laura Arteaga Charlton, Tara Donovan,

Trey Duvall, and Darby Hillman

November 20 – December 26, 2020

(Denver, CO) RULE Gallery is pleased to present One by One, a group exhibition of works by Sasha Alexandra, Laura Arteaga Charlton, Tara Donovan, Trey Duvall, and Darby Rose Hillman.

One by One examines the process and materials used by artists to transform every day and mass-produced items into entirely new objects. These five artists engage with the possibilities that are present in non-traditional art materials and one by one manipulate and aggregate them to create artworks that challenge our understanding of objects we engage with every day.

Materiality in contemporary art far expands outside the limits of paint, ink, or clay to include ubiquitous everyday objects re-imagined from their intended use. Tara Donovan's practice utilizes the often-overlooked physical aspects of mass-produced items as the starting point for her large-scale sculptural pieces and her prints. These prints by Donovan take etchings from note cards to create a minimalist image far from the objects' initial use. While Laura Arteaga Charlton also uses paper to create her richly textured collagraphs, Charlton is interested in abandoned everyday objects and how she can transform them from refuse. By taking found cardboard boxes and flattening them to run through a printing press, Charlton reveals the transformative beauty of her materials.

The processes used to handle these unusual materials are often also akin to more traditional art practices, such as Sasha Alexandra's tape drawings, which she views as a similar process to glazing ceramics. Alexandra's new works are composed of strapping tape that manipulates the reflection of light through the fiberglass strips that compose it. Similarly, Darby Rose Hillman works with discarded fibers to create ethereal wall hangings by measuring to twice her arm's length and then cutting the strand; this process reinterprets the material from the scale of mass-production back to human connection.

Finally, Trey Duvall's works consider the roles that everyday objects play in our lives and how their use is tied to productivity. Duvall's video Do Do Do Do Do highlights familiar gestures and movements and how they can be "undone," such as blowing up a balloon and immediately releasing it. These futile actions are further mirrored by Duvall's sculptural piece Lift/Fall that loops a large industrial rope performing work instead of completing it.

The processes and materials used by the artists in One by One challenges us to see our everyday items and gestures in new ways.

Photos by Wes Magyar

ENTIRELY DEVOID

Works by Trey Duvall

Curated by Louise Martorano

Entirely Devoid presents objects in crisis through misplacement and contradiction. Repetitive actions and kinetic sculptures demonstrate disutility and articulate a mistrust between form and function.

The works in Entirely Devoid echo the breaks in continuity and familiarity of our current moment. Themes of agency, futility, absurdity, and misuse underpin the exhibition while adaptations and renegotiations of the familiar weigh heavy on the minds of individuals and communities.

If You Were Me, Then I’d Be You, And I’d Use Your Body To Get To The Top, 2017

11m 12s

Column/Rope/Column, 2020

1hr 45m

Cocktail Formal Seaside Narmada Formal, 2016

Trampoline

6’x10’x7’

This piece was first displayed in 2015 in Houston at the Lawndale Art Center for an exhibition entitled “Idiot Machines / Infinity Loops,” where Duvall was looking at how small alterations can destabilize and undermine an object’s purpose. Our expectations of excitement turn to concern when the situation (the low ceiling) renders the object useless. The crisis of the object is felt deeply by the viewer as the signification of the trampoline collapses and makes a sublime turn from joyful to threatening.

An Acute Moment In A World of Possibilities, 2020

96”x32”x40”

Concrete, push mower

Entirely Devoid is the first exhibition of this work that captures the opportunity of implied misfortune.

Curtain Lift/Curtain Drop, 2020

96”x48”

Velvet curtain, aircraft cable, gear motor

Curtain Lift/Curtain Drop, operates within a system that is contentious. As the curtain labors upward, the anticipation of reaching the top rises in the viewer, culminating in a stagnant curtain. This implied stability is ultimately withdrawn as the curtain falls and the process begins again, becoming both untenable and unsustainable.

Tautologies In White 1-6, 2020

22”x22”x1.25”

Acrylic, Vinyl

Similar to the site-specific works in this exhibition, Duvall’s Tautologies In White challenge the fortitude of meaning when subtle repetitions enter our language. Throughout Entirely Devoid we are asked to re-examine the assumptions we bring to the function of language and objects.

Column/Rope/Column, 2020

Site-specific installation

11,000 feet yellow Polypropylene rope

In this performance, Duvall tracks 11,000 feet, nearly two miles, which he records with the unspooling of yellow propylene rope. This non-journey represents a consistent theme in Duvall’s work, which is that the repetitive act of doing, is also the act of non-doing. Duration meets fatigue, and organized systems become disorganized.

Floor/Floor, 2020

48”x 72”

Photographic Print

Floor / Floor tangibly ties the concept’s Duvall is exploring to the S*Park space. Information and process layer on information and process.

Untitled, 2017

Steel, Jute Rope

First installed at James Surls Studios in Splendora, TX, Untitled was part of a mechanized installation that through repeated circular motion burrowed this steel form into the earth. The fraying of the rope and the weight of the steel create a connection between the forms, a connection that disarms their function.

Photos by Wes Maygar

Visit the link below to read the full article:

https://theknow.denverpost.com/2020/11/17/checking-in-artist-collective-denver-trey-duvall/248775/

Review: Art At The Intersection https://durangoherald.com/articles/312731

Hat On A Hat Hat On A Hat pairs absurd actions, gestures and systems to create an anti-spectacle, shifting emphasis away from the literal objects and operations towards abstract and illogical propositions. Within the exhibition, each repetitive action, sequence, or gesture seemingly proves and negates itself; there is equal doing and non-doing, which adds up to nothing, but nothing is something too. Spool/Unspool- an evolving site-specific sculpture in the center of the gallery will deliver 36 thousand feet of rope onto the gallery floor over the duration of the exhibition. Spool/Unspool will run continuously, creating a slow transfer from the organized state of the rope on spools to a circumstantial and purposeless heap. Surrounding the gallery is a frieze of 76 individual video performances. Do, Do, Do, Do, Do, examines the ergonomics of absurdity. The actions, exercises and gestures perform automated body mechanics, nonverbal modes of communication, inoperative tasks, and corrective movements. Video sequences range in duration from 30 seconds to 30 minutes.

Thank you to RedLine Contemporary Art center for its continued support and Watcheye Studios, Tiffany Matheson, and Priyanka Makin for their collaborations and assistance.

Spool/Unspool, 2019

Site specific installation

Steel motor housing, Adruino, motor, 36 spools yellow Polypropylene rope (1,000 ft each), projectors, wood shelving

Do, Do, Do, Do, Do (videos), 2019

76 individual video performances video duration range: 30s to 30min

Working Or Not Working, 2020

4’x4’x1”

Vinyl, acrylic

Up Center Down, 2020

4’x4’x1”

Vinyl, acrylic

Truth Table, 2020

4’x4’x1”

Vinyl, acrylic

University of Wyoming Art Museum

TREY DUVALL: DO, DO, DO, DO, DO

August 10-November 16, 2019

Hours: Tues-Sat: 10 a.m.–5 p.m.

Extended hours Thursday until 7 p.m.

Closed Sunday & Monday

Admission: Free

Centennial Complex

2111 East Willett Drive

Laramie, WY 82071

Phone: (307) 766-6622

Email: uwartmus@uwyo.edu

PLACE IN LINE

Curated by Ashley Frazier

RedLine Contemporary Art Center

September 6 - October 12, 2019

-Make a continuous line for the entire duration of every flight taken for the duration of one year.

Trey Duvall

Flight Lines, 2015-2016

Krabi—Bangkok—1h 25m

Tokyo—Denver—10h 32m

Durango—Denver—1h 10m

Denver—Houston—2h 15m

Bangkok—Tokyo—5h 45m

Indore—Delhi—1h 40m

Houston—Denver—2h 15m

Tokyo—Bangkok—5h 45m

NYC—Mumbai—14h 40m

Mumbai—Indore—1h 30m

Denver—Houston—2h 15m

NYC—Denver—3h 40m

Durango—Denver—1h 10m

Denver—Houston—2h 15m

Houston—Tokyo—14h 5m

Denver--Durango—1h 10m

Delhi—NYC—15h 25m

Chiang Mai—Bangkok—1h 15m

Bangkok—Krabi—1h 25m

NYC--New Orleans—2h 55m

Bangkok--Chiang Mai—1h 15m

Denver—NYC—3h 40m

Denver—Durango—1h 10m

Curatorial Statement:

Place is often defined and described in relationship to geographic and social attributes. In Place In Line, place emerges through use of lines as a form of mark making that both captures and translates placeness or placelessness. Within these works, repetition of line is utilized to demarcate and shape the moments within and between physical, biographical and abstract locations to capture or reflect our perception of the places around us.

PARTICIPATING ARTISTS

Ramon Bónilla, Trey Duvall, Ashley Frazier, Clay Hawkley, George P Perez, Jodi Stuart

Abruptly This Misplacement or It IS Hard To Find A Good Lamp, 2019

Fish tanks, mineral oil, and clamp lights

Warning Risk of electric shock. Do not use product in unintended, aimless, or speculative circumstances. Misuse can lead to serious injury or death, but likely everything will be just fine. Keep out of reach of children.

RedLine Contemporary Art Center

Super Tuning New work by Trey Duvall February 25th - April 12th, 2019 San Jacinto College South Campus Gallery

The works in Super Tuning relate to motion paradoxes from Zeno of Elea and how logical reasoning can produce contradictory or absurd results. If a measurement is finite, it is exact, no more, no less. However, this finite measurement can also be infinite. You will always find space between two points, and infinite points exist within that space. Everything is infinite. A traveler can never reach their destination, there is always half of the distance left to go. Motion is impossible because the flying arrow is truly at rest. At its most basic, the exhibition is about paradox- how our reality is both rational and irrational, equally, at the same time. If we exist in a space and time that is both infinitely big and infinitely small, then the space we take up is ultimately undefinable and full of contradictions.

To Occupy An Equal Space, 2015

Drawing series, 23 flights, 82.3 hours

200 Gestures in 5 Acts, 2019

Stage curtain, and motor

Immediately Left, Immediately Right, 2019

Video, 25m:50s loop

Untitled Pendulums, 2019

Graphite, acrylic, and hardware

Sediment Tanks, 2019

Yellow ochre, water, and acrylic

Untitled Tape Lines, 2019

Tape

Abruptly This Misplacement or It IS Hard To Find A Good Lamp, 2019

Fish tanks, mineral oil, and clamp lights

Stack/Void

Corten steel, 2,500 lbs unfired porcelain

11’ x 20“ x 20”

2018

The 2,500 pounds of unfired porcelain was formed into individual tiles and stacked and balanced in the center of the steel form. The volume of the clay mirrors the combined volume of the three voids- one on each side, recessed into the earth, one where the clay sits in the steel form as the starting condition.

Private commission for the collection of Ben and Caroline Jansen.

Trey Duvall

Traverse: Stack/Void,2017

4,500 lbs unfired porcelain, steel, gravel

This durational and entropic sculpture will be on view from October 2017-August 2018 in Houston, TX. Click here for more information:

https://www.sawyeryards.com/single-post/2017/10/04/Sculptures-in-Art-Alley-2017-2018

Positions/Variables

2017

Unfired porcelain, steel, water

Porcelain clay acts as both a structural element and as a receptor surface for the rusting water of the basins. Over the duration of the installation the porcelain variables weaken and the steel positions lose their starting condition, providing for changing orientations and chance distribution of the steel forms.

Created for the courtyard of the Blaffer Art Museum at the University of Houston.

Oh! Stephen, Stephen, Stephen

Shopping Cart, Treadmill, Looped Video

2017

Part of the Idiot Machine series, this work uses a standard treadmill and shopping cart paired together in delicate balance. The treadmill rolls, the shopping cart rolls. On the screen of the treadmill is a video of the shopping cart as it is on the running treadmill, looping.

Loschmidt’s Column (The Reversibility Paradox)

Trey Duvall

Exhibition dates: December 2, 2016 – March 11, 2017 Opening reception: 6 – 9 PM Friday, December 2, 2016 Sculpture Patio I Artist talk: 6:00 PM

www.artleaguehouston.org

Art League Houston (ALH) is excited to present Loschmidt’s Column (The Reversibility Paradox), a durational sculpture by Houston-based artist Trey Duvall. The project explores the passage and blending of material states subjected to the manipulations and processes of entropic time. Comprised of a porcelain and steel sculptural intervention, the project focuses on irreversible material change and exchange based on specific conditions of a particular space in forward moving time.

Loschmidt's Paradox puts time reversal symmetry at odds with any attempt to infer from the second law of thermodynamics, which describes the behavior of macroscopic systems. Both of these are well-accepted principles in physics, with sound observational and theoretical support. 

Steel, Unfired Porcelain, Gravel

8'x20'x6"

2016

Created for the James Surls studio at Splendora Gardens.

Links:

http://www.houstonchronicle.com/entertainment/article/James-Surls-Spledora-blossoms-again-an-art-center-10593515.php

http://glasstire.com/events/2016/10/25/ulterior-motifs-no-15-in-splendora/

https://www.facebook.com/splendoragardens/

Desert Enantiomorphs (38˚ North) is a project exploring the passage and blending of material states, accelerated through the manipulations and processes of entropic time. Comprised of sculptural interventions and a video, the project focuses on mineral substances – soil, sand and clay cut from the desert floor as mirror-image casts. One form is erected in situ like an obelisk or marker rising above it’s voided mirror-image. Another form is cast from this excavation and removed. Each form and void evolves in unique and unpredictable ways, a series of possibilities within parameters of the location. The video reveals the intensity of desert locations and the transition from plasticity to shards and dust.

This work was created in Marfa, TX as a part of Deserting the Site 2016. Plot Manifest, a two-week intensive studio in Marfa with 10 graduate students from the School of Art at U.H. and Nantes School of Art; and Marfa Sounding, a series of site-specific performances, sound installations, and conversations curated by Jennifer Burris Staton and exploring the intersection of music and the visual arts in the development of Minimalism (co-produced with Marfa Live Arts).

Please visit:

 http://www.desertunit.org/dust/deserting-site-2016 

http://www.marfalivearts.org/#!marfa-sounding/q5b7y

for more information.

Trey Duvall D.U.S.T. artist page:

http://www.desertunit.org/deserting-the-site/trey-duvall/#!

Yesterday Is Here

Steel, Unfired Clay Chain, Acrylic 

2016 

Yesterday is Here is work that was created in New York during June and July of 2016 as a part of the School Of Visual Arts Summer Residency Program.

Over 200 feet of unfired clay chain was created by hand for this installation. What initially strikes a viewer as a hard industrial material is shown to be something else by the marks of the hands and fingers left on the clay and the eventual failure of the material. These chains were hung from a steel basin designed to emit a slow drip of water over the clay, slowly dissolving the links and eventually causing the chain to fail.

Passage, 2016

4,100 lbs. unfired porcelain clay, steel

3’x3’x6’

SITE Gallery Houston

Passage is a relationship between object in space and material over time. This installation uses the specific features of the silo cone as a vehicle to deliver water to 4,100 pounds of porcelain clay, directly tying the deterioration of the object to the immediate context. Using the silo of SITE Gallery itself as a material, the introduction of water acts as a catalyst, making the steel begin to rust as the drips dissolve the clay. Over the duration of its exposure, the clay and the iron become inseparable, forever tying the clay to the elements of this location.