As is so often the case in such fluidly-defined group exhibitions, viewers should perhaps approach the show with little expectation of finding insight or epiphanies related to the organizing theme. Even if “Bed” was a meaningful connective tissue between these disparate works, it might not be an especially compelling idea. What does unite many of the works is a humble, intimate, day-in-the-life quality, a sense that we are peeking in at the fleeting, personal moments in someone else’s reality.
The best way to experience “Bed” might be to just soak in some interesting artwork from a selection of artists outside Atlanta and enjoy the opportunity to see another point of view. I found artist Nicolas V. Sanchez’s endearingly humble, precise drawings using the unexpected medium of ballpoint pen especially appealing, delicate, tender and full of affection that flows from that utilitarian tool like lifeblood. Sanchez’s small works zero in on the intimacy of family life, sketching his grandmother in “Abuelita Blanca” in vivid hues against a spare black and white bedroom or family members in “Sketchbook from artist’s commute” napping in a large bed. His drawings are sweet evocations of the cozy companionship of kin. “Bed” takes on a more erotically-charged dimension in Melissa Brown‘s work “Morning Shunga” whose flat, deceptively cartoonish painting style rubs up against the complex layers of visual information embedded in her work, where reflections and subterfuge detail provide a knowing, intimate approach to domestic life. Port-au-Prince born Didier William combines wood carving, collage and paint on a panel to create his strange, extraterrestrial figures and Sarah Faux takes a similarly canted, disorienting approach to her subjects in her painterly red and pink valentines to male bodies.