Frontward Tilt

Exhibition organized for 4th Ward Project Space, June 7, 2015 – July 5, 2015. Featuring work by Ramsey Alderson, Jeremy Biles, Ph.D, and Ryan M Pfeiffer + Rebecca Walz.


about the exhibition
Frontward Tilt assembles a group of four artists whose work incites precarity and addresses “the tilt” as both a formal strategy and disruptive symbolic operation. The work of these four artists examines the tilt and its constellation of related terms (lunge, tumble, slip, pitch, slant, lean…) as a function of fractured or collapsed pictorial space and dimensional ambiguity. A shifting body of interconnected references pervades the work and serves this end: voyeur, creeper, spy; bull, bull­god and matador; The “Mirror of Tauromachy” and the “Mademoiselle V.” Inspired by a Bataillean meditation on Manet’s “Fish (Still Life)” (1864), Frontward Tilt embraces historically displaced imagery via ulterior reads and free association, and indulges lowness ­both as a vantage and a practice.

Edouard Manet, “Still Life With Fish,” Oil on Canvas (1864) [Collection of The Art Institute of Chicago]

from left to right: Jeremy Biles, “Ariadne’s Thread,” Digital print with graphite and wax crayon on newsprint with velvet veil (2015); Jeremy Biles, “The Sensation of Time,” Digital print with graphite, colored pencil, and collage on newsprint with velvet veil (2015); Jeremy Biles, “Mirror of Tauromachy,” Digital print with graphite, colored pencil, and semen on newsprint with velvet veil (2015); Rebecca Walz + Ryan M. Pfeiffer, “Annunciation,” Chalk lead, and charcoal (2015)

from left to right: Jeremy Biles, “Ariadne’s Thread,” Digital print with graphite and wax crayon on newsprint with velvet veil (2015); Jeremy Biles, “The Sensation of Time,” Digital print with graphite, colored pencil, and collage on newsprint with velvet veil (2015); Jeremy Biles, “Mirror of Tauromachy,” Digital print with graphite, colored pencil, and semen on newsprint with velvet veil (2015)

from left to right: Jeremy Biles, “Ariadne’s Thread,” Digital print with graphite and wax crayon on newsprint with velvet veil (2015); Jeremy Biles, “The Sensation of Time,” Digital print with graphite, colored pencil, and collage on newsprint with velvet veil (2015); Jeremy Biles, “Mirror of Tauromachy,” Digital print with graphite, colored pencil, and semen on newsprint with velvet veil (2015); Rebecca Walz + Ryan M. Pfeiffer, “Annunciation,” Chalk lead, and charcoal (2015); Rebecca Walz + Ryan M. Pfeiffer, “The Labyrinth,” Graphite, chalk lead, colored pencil, charcoal, iron oxide, and gold leaf (2015); Rebecca Walz + Ryan M. Pfeiffer, “The Adjustment,” Graphite, chalk lead, water color, colored pencil, charcoal, and gold leaf (2015)

from left to right: Ramsey Alderson, “Untitled,” Photograph (2015); Jeremy Biles, “Ariadne’s Thread,” Digital print with graphite and wax crayon on newsprint with velvet veil (2015); Jeremy Biles, “The Sensation of Time,” Digital print with graphite, colored pencil, and collage on newsprint with velvet veil (2015); Jeremy Biles, “Mirror of Tauromachy,” Digital print with graphite, colored pencil, and semen on newsprint with velvet veil (2015)

from left to right: Rebecca Walz + Ryan M. Pfeiffer, “The Labyrinth,” Graphite, chalk lead, colored pencil, charcoal, iron oxide, and gold leaf (2015); Rebecca Walz + Ryan M. Pfeiffer, “The Adjustment,” Graphite, chalk lead, water color, colored pencil, charcoal, and gold leaf (2015); Ramsey Alderson, “Untitled,” Photograph (2015); Ramsey Alderson, “Untitled,” Photograph (2015)

from left to right: Ramsey Alderson, “Untitled,” Photograph (2015); Ramsey Alderson, “Untitled,” Photograph (2015)

Ryan M Pfeiffer + Rebecca Walz, “Labyrinth,” graphite, chalk lead, charcoal, colored pencil, water color, iron oxide and gold leaf on paper (2015)