“Triad” – Joe Amrhein, Justin Amrhein and Phillip Amrhein

Joe’s work is a combination of different disciplines. Physically it comes out of painting, but the context is conceptual. “Using text and font icons as my primary subject, the source for much of the text in my earlier work was appropriated from critical art writing. The notion that this language replaces the art it describes—replacing an idea or something concrete with abstract language—is very interesting to me, but bringing this abstract notion of language back into visual art is even more interesting. In recent years, I have been working with translation, interpretation, and misinterpretation of language. Some of the text I compose is not intended to be read literally but becomes almost an artifact, because it is so highly fragmented.  In my most recent work, I’m still working with text and fonts but they are more subjective and stylized. I’m focusing on painting or, in a sense, forging signatures by studying the unique nature of each individual’s mark making. My interest and intention, however, has to do with the recontextualization that develops through this translation, creating our own narratives, true or false.”

Justin approaches his work in a more technical context, by creating intricate complex machine oriented drawings on paper. “Figuring out how things work and discovering what components are necessary to create a fully functional machine intrigues me.” His inspiration is fueled by the intricacy and sheer beauty that he finds in mechanical schematics, blue prints and instructional drawings. “By combining mechanical and biological elements in a schematic like format, I’m able to create imaginary robotic surrogates for a multitude of subjects from monarchs, orchids, trees, tools and weapons to name a few. By utilizing a morphed language of technical, biological, and invented terminology, I create labels for each component of my drawings allowing me to add commentary and humor related to the function of each piece. In my most recent work, I’m exploring animation and different drawing techniques in an attempt to create a more functional display of my botanical machines.”

Phil’s work for the past several years has been primarily focused on black, reductive, imageless paintings. “By exploring the aesthetic of black, I’m intrigued by the expressive possibilities of darkness and blackness. I want the paintings to be detached from any literal reference, yet their fullness and blackness can evoke feelings and carry some communicative power. I want the paintings to have a life of their own and speak for themselves.  From the start, there is no clear vision of where the work is going, but at some point during the process, I sense a direction or I see something that provides me with a kind of focus.”