Station5
Micro-Gallery

ACCUMULATION
One common way to create something substantial is to make it big. Another way is to accumulate. Gather a lot of small things over a long period of time. Things that are not very significant in themselves. But when you keep piling up a bunch of dumb details, they might add up to something interesting.

Examples of some of what is included in this exhibition:

• 152 ugly pennies
• 1000 little metal objects that were found on the streets
• a pyramid of 55 rusty steel beer cans opened with a church-key-punch
• vintage balls, very old rubber boot heels
• and photo collages of bollards / stop signs / floppy discs / confirmation-of-delivery photos / “Free TVs” from Craigs List / “No Postage Necessary” horizontal bars.
• Plus, a new book published on the occasion of this exhibition, along with other ephemera.

BURNING BOOKS was founded by writer/editor Melody Sumner Carnahan and artist/designer Michael Sumner in 1979 in Oakland, California. The Burning Books imprint has published thirty-five books. In 1989 Burning Books moved to New Mexico where the two founders continue to produce books, posters, pamphlets, and postcards.

burningbooks.org

+ Bring one original creation (valued up to $50)
+ Experience the delight of gifting your work
+ Select a piece from a fellow artist
+ Contribute to this communal gift altar, a testament to the spirit of giving.

This is a one-for-one exchange celebrating creativity and connection, gifting and nurturing new and old bonds within our artistic communities.

Please bring your unwrapped reciprocity artwork on the day of. Upon your arrival, we will provide tags to display your name and other information. We will document and display selected works in a 2025 GIFTED exhibition that will be posted online.

Thanks to Christine Alexander for the original drawing.

More Details

Edie Tsong: The Lineage series of ballpoint drawings began in 2003, where I became interested in the relationships that make up who we are, and what can go unexpressed, unknown, and unsaid. Having grown up in a trilingual household, I found languages to be limiting and suspicious. Reducing language to a simple line, one that marks time and gives evidence of existence, was a way to write into a family history that was mostly mysterious. Each stroke of the pen is a way to touch relations that can feel very distant. I start from family photographs, enjoying the shape of the whole or parts of the family, independent of any objects and environment, wondering if relationship itself becomes its own landscape or organism, something that offers containment and belonging.

Rachelle Rojany: Backed on linen and framed in hardwood, Rachelle Rojany’s pplanes are small sculptures on copper foil. Sanded, scraped, and patinaed with acids, the pplanes are deliberately degraded to explore aging on the human scale as well as on the scale of the artifact. / pplanes: poems songs incantations, ancient prayer formulations, flags venn diagrams tantric tables, flat plane airplane plein-air, breaths and wind

Elisa Keir: Addressing the needs of blossoming mystics, this collection of handcrafted tools and objects supplies a stimulating interplay between extrasensory development and creative cultivation. Capricious and adaptive, these tools allow users to develop their powers of storytelling and spellcasting. Note: tools may shape-shift into ordinary artifacts when the user prefers to conduct their mystical experiments in the whispers of sacred anonymity.

Born and raised in England, Clare Dunne graduated from Edinburgh University in Scotland with an MA in History. She has made art throughout her adult life in her home, largely self-taught, in the midst of her family. Clare’s drawings and paper-cuts are in private collections in the UK and US.

Exhibitions at PhilSpace, Santa Fe, NM
Feathers and Fur, 2014
Wild Earth Guardians Benefit, 2017

My thanks to Elisa Keir, Sarah Potter, James Hart, and Sandy Goins.

( ALF ) is an ongoing collage series on wood panel, it’s up to about 1200 works in the series.

Pushing clipped images of animals into a dadaist environment. Random colors, words and animals mix freely (Liberation) in a world turned upside down. Word meanings juxtaposed with the animal image create possibilities in reflection about the artworks. The series attempts to honor all wild and domesticated animals. I have strong feelings about all animals beyond humans, I believe they are far more important and sacred to our earth then the ongoing self-destructive human race.

Process involves, a gathering of thrift store buys of kid’s animal books, scrapped wood paneling, glue and junkyard acrylic paints. Its classic assemblage methods of glueing image and colors into mysterious narrative messages. With all materials in front of me, the process is automatic, mixing and matching to create images I like. I usually make a batch of collage paintings every couple of years, averaging about 60 to 80 paintings per session. These collage series I consider my street art, dirt cheap and available to the masses, operating outside of the pretentious gallery system.