Nexus PDF

Nexus, Sexus, Plexus
is a series of
3 exhibitions loosely inspired by The Rosy
Crucifixion, the controversial trilogy by Henry
Miller written at a time when the author was
grappling with personal transition and artistic
anxieties.
NEXUS
SEXUS
William Downs
Plastic Aztecs
Taking from the trilogys structure, as well

as Millers existential reflection and faculty
of language, Nexus, Sexus, Plexus has
become a way for Dash to reference our
own organizational trajectory, pull in three
newly-minted Dash spaces, and invite artists
to respond to themes of transition, craft, and
connectivity.
Featuring
Plexus, Jason Peters (Dash Artist, 2014)
Sexus, Plastic Aztecs (Dash Artists, 2011)
Nexus, Susan Loftin, John Salvest and William
Downs (artists we were introduced to during
our research in the Nexus Contemporary Art
Center archives.)
1 - Nexus - 33 North Avenue
Acknowledgements
2 - Sexus - 31 North Avenue
Special thanks for Louise Shaw, Teresa Reeves,

Robin Bernat, Jerry Cullum, Rachel Reese, Stuart
Horodner, Don Cooper, Birney Roberts, Mario
Petrirena, Marcia Wood, Tonia Nelson, Susan
Loftin, William Downs, John Salvest, and the Art
Papers staff for schooling us on ATL art history
during our research for this exhibition.
3 - Plexus - 621 Spring Street

4 - North Ave MARTA Station
Each individual exhibition and book within the

series references a network or lineage. Each
artistic detail supports its location, informs
the next step, and, ultimately, determines the
shape of the overall exhibition. The artists and
artworks were selected systemically, each of
them informing the other, referencing the book,
and developing a chronology and storyline.

I started to think about drawing as songs, that

invoke or respond to feeling, even if the meaning isnt obvious for the
viewer... or even for the artist. It allows us to personalize our experience
of the art, and expand how it translates. And my drawings are all about
composition, in a way. Whether you get the story or not - and often
there are dreams or personal experiences behind the drawings - theyre
just supposed to move you.
(an imbecile with a can opener)
What I want is to open up. I want to know whats inside me. I want
everybody to open up. Im like an imbecile with a can opener in his
hand, wondering where to begin-- to open up the earth. I know that
underneath the mess everything is marvelous. Im sure of it.
- Sexus, Henry Miller
Since 2008, the artist collective Plastic Aztecs have been known for
their colorful installations and multimedia based shows. They deliver a
unique visual perspective that often utilizes the fantastic and absurd for
the purpose of broad cultural critique. The Plastic Aztecs currently are
Erin Bassett, Becky Furey, Andrea Sanders, and Dorothy Stucki.
The Plastic Aztecs currently are Erin Bassett, Becky Furey, Andrea
Sanders, and Dorothy Stucki.
- Beth Malone & Courtney Hammond,

Dashboard
PLEXUS
John Salvest
Night Train (2002/2014) was originally conceived for

a Side by Side exhibition at the Brooks Museum in Memphis, where
my psychological dreamscape was shown in hopefully humorous
dialogue with Thomas Hart Bentons painting Engineers Dream from
its permanent collection. I have since thought that it could work just
fine as a stand-alone project. When I was asked to consider possibly
presenting an older work in Nexus, Sexus, Plexus, the Henry Miller
reference made me think it might be time to pull the old bed out of
storage and dust off my model train.
Susan Loftin
has had over 20 solo exhibitions. Her work is in the

permanent collections of numerous museums including the High
Museum, MOCA GA, the Mint Museum in North Carolina, the Speed
Museum in Kentucky, and many others, as well as significant corporate
and private collections. Her work has been featured in The American
Craft Magazine, American Ceramics, Art Papers and Art Forum.
Loftin employs a variety of media in her work, including glass, clay,
wood, wire, paper, brick, and tape. Her love of materials and the act of
building is ever present in her work. (Work pictured on back)
Jason Peters
In this installation, inspired by the Henry Millers

book Plexus, I wanted to go inside the depths of the mind. To create a
visceral experience that connects what is underneath the skin and how
we are sometime bound to it. The title Mr. Miller chooses is well-suited,
it acts as an umbrella for all the conscious and announces choices we
make and how this, in turn, affects the paths we follow and take in
life. The word plexus is from the Latin braid describing a branching
network of vessels or nerves, at the nexus of our very survival.
I longed for creating a visual & chaotic spectacle unlike anything Id
done before, to picture the unseen, the way it might look before us and
feel our way through it. Attempting to fuse reality before us with the
fiction we create, the ties that bind us are both unseen and seen. It is
the interior of this plexus that Im creating.
Susan Loftin, 2014

Nexus PDF

Uploaded by

Copyright:

Available Formats

Nexus PDF

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Nexus PDF

Uploaded by

Copyright:

Available Formats

Nexus, Sexus, Plexus

Taking from the trilogys structure, as well

1 - Nexus - 33 North Avenue

2 - Sexus - 31 North Avenue

Special thanks for Louise Shaw, Teresa Reeves,

3 - Plexus - 621 Spring Street

Each individual exhibition and book within the

I started to think about drawing as songs, that

(an imbecile with a can opener)

- Beth Malone & Courtney Hammond,

Night Train (2002/2014) was originally conceived for

has had over 20 solo exhibitions. Her work is in the

In this installation, inspired by the Henry Millers

Susan Loftin, 2014

You might also like