Weeping Clear Liquid

by Brian Crean

What do you get when you open arandom novel and blindly point to thetext in the middle of one of the pages?Well… if you’re Millicent Greason,the owner of Urban Artware and oneof the founding members of the SEEDCollective in Winston-Salem, then youget “weeping clear liquid.”Although it sounds like just a longwindedway to say “tears”, for themonth of May, it is also something else.Starting Friday night, Weeping Clear Liquid will become thetheme and inspirational starting point for an interesting groupexhibition. It’s essentially a show by a group of artists whoseem to like making art as though they are playing aroundwith a magic 8 ball.Sound weird?Yep…it pretty much is. But, it’s also a solid show withsome engaging images to take in. From what I’ve learnedwhile getting reacquainted with Trade Street these last fewmonths, SEED artists are an accomplished and diverse bunch.And they approach their work from quite a few differentangles.For example, Patick Harris is the group’s punk-rock popartist. Infl uenced at a young age by the sound that wouldbecome a way of life and a religion to a generation of youngrebels, Harris depicts his illustrative portraits with a slickattention to detail. He also marries the concept of weeping toa few different emotions: anger, love and veneration. “Tears ofSaint Iggy” is his homage to the man usually considered thegodfather of punk, Mr. Lust for Life himself Iggy Pop.Totally different visually, but similar in that he likens hisartmaking to spirituality, is the work of Dave Urena. His photocollagesare a kind of “leap of faith” into another dimension.Well considered and impeccably arranged, Urena’s work oftenemphasizes light and shadow, and he’s created two new piecesfor the show.Clark Whittington, on the other hand,rather than creating new work, decidedto pull out two pieces from his own personalvault. Created in 1999 and 2000,“This is About More” and “Collectibleson Display” are a pair of assemblagepieces mounted under recycled windows.’Depicting old LPs, dog photos and armymen, the works draw you in. And althoughthere is not a lot of weeping going on, theyare pretty interesting to explore.Alex Norwood and Kendall E. Doubare the collective’s two abstract painters.Norwood created a triptych of swirlinggreens and blues especially for the show, andDoub has created a diptych. When I asked them about theirwork, each of them said that linking the theme to their creativeprocess felt natural, perhaps even fl uid.Which brings us to our last featured SEED artist in theshow, Woodie Anderson. Working in mixed media, fi ber andfound fabrics, Anderson has created two large pieces. Herweeping quilt and hanging mobile are spacious textural studies,almost like installations that entice you to walk into andaround them. Similar to the title of the exhibition itself andGreason’s mysterious method of choosing the it, the work istactile and makes you want to reach into it and fi nd a descriptivephrase to describe it. Something random and evocative.Something illogical. Something kind of like… weeping clearliquid. !

“Tears of Saint Iggy,” by Patrick Harris