“Color, Shape, Line: Six Degrees of Separation between Andrew Zimmerman, Fran Shalom and Jesse Hickman”, The Terrarium Gallery at Drawing Rooms, 5/18/24 - 6/29/24

Response to “Color, Shape, Line: Six Degrees of Separation between Andrew Zimmerman, Fran Shalom and Jesse Hickman”. Curated by Anne Trauben.
The Terrarium Gallery at Drawing Rooms, 5/18/24-6/29/24.
By Andrea Epstein
6/27/24

“Color, Shape, Line: Six Degrees of Separation between Andrew Zimmerman, Fran Shalom and Jesse Hickman”, curated by Anne Trauben, is showing in the Terrarium Gallery at Drawing Rooms. The three artists in this group exhibition exemplify three very distinct and original approaches to abstraction featuring a formal and elemental approach to painting, drawing and sculpture in it’s purest form. Although each artist has a truly unique approach to their own practice, what struck me immediately on entering the exhibition space, was the synchronicity between the work. There is such an affinity between all 3 artist’s sensibilities, so that the individual pieces create a wonderful visual conversation that felt very impactful to me. The insightful and careful curation by Anne Trauben clearly places emphasis on the shared visual elements in the work as a group. The press release states, ”Each artist explores the formal qualities of color, shape and line in a playful handmade way”. 

The playful, whimsical, qualities in Fran Shalom’s paintings are immediately apparent in her animated bright color choices which evolve from a very layered build up of paint over a period of time, as well as the quirky and totally unique shapes that reference aspects of the human body, but are also very ambiguous and open to interpretation as objects or other beings altogether. The artist describes the paintings as, ”ambiguous characters who inhabit my studio, keeping me company and often engaging in silent conversation.” This statement expresses exactly my gut response to these beautifully crafted paintings. I saw them as individual beings reaching out from their square confines, speaking to each other, the other artworks and to me. They tell a story of color, line and shape that has a personal narrative all its own.  

The concept of the pared down shapes taking on an animate personality is particularly evident in the paintings, “Shoot the Breeze” in which a flesh and maroon striped horizontal curvilinear shape protrudes ¾ of the way down from the curved irregular large orange oval shape which clearly refers to a human profile with a cartoon like bubble.

Fran Shalom, Shoot the Breeze, 24x24, oil on wood, 2023

This painting is adjacent to a piece by Andrew Zimmerman, “Every Other”, a small arched shaped laminated wood wall sculpture painted with vertical stripes with a high gloss automotive paint in a color scheme of deep rich brown and Indian red that very strongly echoes the palette in “Shoot the Breeze”. 

Andrew Zimmerman, Every Other (side view), 11 x 8in, Automotive Paint on Wood, 2023

A beautiful example of the shared formalities and similarity in shape, line and color is where two of Fran Shalom’s paintings, “Sashay” and “Go-between” both 24X24’ squares share a wall with Andrew Zimmerman’s large shaped painting, ”Mitten”. Whereas in Zimmerman’s large construction composed of four separate organic and geometric pieces joined together in a subtle yet quirky arrangement, the entire piece is covered with white automotive paint rendering it with a slick smooth surface. At first glance it seems that Zimmerman’s assemblage of shapes should be seamlessly attached, but on closer inspection it becomes obvious that the artist is very deliberate in his use of irregularity and possibly accident when it comes to where the edges meet. The artist describes his approach: as an exploration of “the intersection between painting and sculpture, art and design, the hand made and the mass produced” Zimmerman explains that when fabricating the sculptures and wall constructions, he uses hand held woodworking tools that create variations in line that amplify the unique hand of the artist. All three artworks share the use of the color white. In Shalom’s two paintings, the white is used as accents that form a strong contrast with the greens and black of the larger shapes and backgrounds, creating a striking figure ground dynamic.

Fran Shalom, Sashay, 24 x 24 in, oil on wood, 2023

Fran Shalom, Go-Between, 24 x 24 in, oil on wood, 2022

Andrew Zimmerman, Mitten, 48 x 36 x 1.5 in, automotive paint on wood, 2024

Throughout the installation of these three abstractionists, one can really contemplate the significance of the varied treatment of edges and the essential defining role they play in these artist’s works. As far as the treatment of the surfaces themselves, there are also many delightful surprises. On first encountering Fran Shalom’s paintings as a group and at a distance, I concluded that the surfaces were more uniform and smoother then they are. After studying them up close and taking the time to really look, one can see that there is a profound history of layers of built up oil paint that also reveal subtle variations in brushwork, texture and color with lovely surprises lurking beneath the surface.

Speaking of variations in surfaces brings me to the work of Jesse Hickman. Hickman’s paintings which utilize black acrylic and charcoal drawn or painted on burlap mounted on wood rectangles and squares also struck me as very minimal at first glance, but the use of the unconventional material of the recycled burlap bags imbues his pieces with a very immediate textural essence that is also surprising, playful and fun. The curator, Anne Trauben, did a wonderful job of displaying three of Hickman’s paintings (which were not conceived or created together) as a group, which really made the individual pieces sing for me. The grouping composed of, “An Interrupted Arc and the Number of Times I Peed Within a Square and a Rectangle”, on the top left, “An Egg and Arcs Within a Square and a Rectangle”, on the top right and “Emphatically Within A Square And A Rectangle”, anchoring the group on the bottom, allows the viewer to see the lyricism of the linear elements, the ovals, half circles, and the color within the monochromatic textured rectilinear format and is thus transformed. A very important part of Hickman’s practice are daily drawings, nine of which are also displayed in lovely groupings that document the artist’s process, also very compelling in their own way.   

Jesse Hickman, charcoal and acrylic on burlap, 2023 

The vibrant synergy that exists between all three artist’s paintings. sculptures and drawings is clearly illustrated in how they employ irregular organic shapes, deeply felt definition of line, limited palettes, and the essential role of the edges in all the artworks. Although one can enjoy each artists creations as individual pieces, the most exciting aspect of this installation is the way the paintings, sculptures and drawings are grouped together, how beautifully they echo each other and make more visible the formal components of pure abstraction that each artist explores in their particular processes. I have to confess, on first entering the gallery, apart from my immediate response to Shalom’s beautiful bright, unusual colors and quirky animated figures, I thought the work was very minimal. But on closer observation and careful looking, I found that there is nothing about this show that is minimal at all.  

Color, Shape, Line: Six Degrees of Separation between Andrew Zimmerman, Fran Shalom and Jesse Hickman is on view at The Terrarium Gallery at Drawing Rooms through 6/29/24.

Andrea Epstein is a painter and printmaker who creates vibrant abstract mixed media works on paper incorporating a variety of printmaking techniques in her own print studio in Berkeley Heights, NJ. Learn more about Andrea here.