INSIDE THE CADMUS
May 24 - July 31, 2021
Celebration Day: June 26, 4-6 p.m.
About the Exhibit
When I begin a new artwork, I try not to focus on what it should be in the end, which initially creates a process that looks irrational. Instead, I focus on finding multiple entry points into the work by using a combination of abstraction and technical drawing to create a space that is visceral in nature.
I blend my background in architecture within my art by abstracting elements I find in architecture to create a space that can both restrict and inspire the
evolution of the work. This propels the art to grow in a subtle, ever-changing pace that feels like the art is self-generating. It also acts to feed my mark making impulses and repetition until I am satisfied with the intention that the viewer is enveloped while exploring my work.
These new works are a result of further exploration into my thesis work of bridging painting and architecture by bringing structure to abstraction.
Take a tour of the exhibition in our 3D virtual scan. The scan is of the exhibition before the balloons have been added.
If you have trouble viewing the tour, click on this link.
Balloons Coming Soon!
Inside the Cadmus includes a large balloon installation. These balloons will be spread through-out the entire gallery. Visitors can walk among the balloons and interact with them (gently!). The balloons won’t always be available, so we’ll be posting a schedule so you can know when they’re around if you want to see the art with the balloons.
Also, most of the balloons are made with latex. We’re sorry for any inconvenience this may cause for those with allergies.
We're hosting our first outdoor reception on June 26, 4-6 p.m. for the exhibition Inside the Cadmus. Come meet artist Chukwuemeka Chukwu and visit his artwork at the Gallery for CCBC Catonsville.
See more about the event by visiting the event page.
About the Artist
My work combines creativity with critical thinking and finding the midway point between minimalism and elaboration. I always strive to bring out a narrative from the abstract and imagined world and merge it with the future. My figurative artwork focuses on Afrofuturism, blending depictions of my traditional rich Igbo culture with bleeding edge technology to highlight the culture in a different light. In some cases, I use symbolism to achieve clarity of content and grasp at the purity of objects in their rawest form in minimal work while my non figurative work revolves around architecture in which I amalgamate loose mark-marking with stiff geometric structures and give myself limitations drawn from human anatomy and architectural physics to work with. To further challenge my exploration, I allow for the shapes within the painting to grow on the canvas resulting in a spontaneous reshuffling of space, providing insight into the mind of an illimitable strategist. The resulting large scale paintings draw comparisons to launch codes and blue prints, giving viewers a plethora of shapes to observe. The paintings invigorate imagination while working within the constraints of one’s environment.
I chose to study Architectural design because I have always wanted my creativity to produce something much more and I found architecture and engineering as the best forms of art making that is not only aesthetically pleasing but also functional and serves a bigger purpose. In my work I bring diversity by not being solely devoted to either figurative or non figurative styles and I simplify forms and break down the spectrum to obtain subtle variations in brightness and contrast.
In producing my works, I am always focused on how to revisit, dissect and add on new exciting ideas which makes my work to always self-generate new concepts. In order to give my work a sense of consistency I restrict myself in the type of materials I use, and this helps in not reinventing the wheel each time I have a new work to produce. At the early stages of my work I explore and try different things until I identify what I am looking out for.
This exhibition and programming was made possible with funding from the Maryland State Arts Council.