LOCATION: Dateline - 3004 Larimer St

EVENT CATEGORIES: First Fridays | Art Events


  • Fri, Feb 16, 2018 - Sat, Mar 31, 2018

Events Calendar | First Friday Calendar

DATELINE is pleased to present its fourth anniversary exhibition Sarah Bowling and Mario Zoots: Point of Friction, curated by Mark Fitzsimmons. DATELINE (est. 2014) reaching four years is a huge milestone for an art gallery and as such we invite you to join us for our Artist reception and anniversary party for light fare and libations on Friday February 16th, 2018 from 6-11pm. Both artists will be present and would love to share more of their thoughts and process with all of you.

When two opposing ideas meet there can be violent tectonic shifts, glancing blows, compassionate words or a loving embrace. Friction can push a conversation; it has the power to destroy or create. In searching for these points, Zoots and Bowling search through a collection of amorous notions, mutually held, using separate experiences and perspectives. Point of Friction questions how we project our intimate desires onto our partners, strangers and friends. What does it mean to be in a loving relationship? Can art give us a handful of personal, sometimes diverging, answers to these questions?

Sarah Bowling’s work explores the constructs of desire: the expectations of sexuality and the junctures of intimacy and vulnerability within relationships and the self. Examining the dangers and pleasures of physical intimacy, Bowling creates provoking bodies to be leered at. Using her own body as the material foundation and an art object in itself, her work invites you in to be playfully scolded. Working with industrial materials such as concrete and wood, often embellished with the seductiveness of vinyl and chiffon, the question of binary gender roles is pushed to the fore. Materiality is as much a focal point as the bubbly facade of her work. When confronted with Bowling’s body of work the audience is urged to find the line, or point, between consent and compliance in visual communication.

Mario Zoots conducts a study into black: using various gradients of light as a symbol for the unknown or unseen, the work both absorbs and excels. Zoots’ use of a variety of materials and modes includes a spray-painted canvas wearing a garter made of rope and by referencing Rauschenberg. In his combinations and assemblages, the artist uses this method of recapitulation as an entrance into a discussion on materials, baseness and the interactions between both. This iconography is a tool to distance himself from staggering emotion. As a collage artist, Zoots examined unfamiliar methods of working, focusing on layering textures and material interactions. In this way each work became an experiment. Representing the ambiguous and ephemeral pleasures of these relationships, the series gives viewers hidden moments to enjoy.