LORRIE FINK
Edges and Seams
Solo Exhibition at L’Amyx Tea Bar on Lakeshore Ave.
May 2– June 26, 2010
Public reception: Friday, May 7, 2010, 5:00 pm–7:00 p.m.
Free to the public. Wheelchair accessible. All ages welcome.
Enjoy a complimenary L’Amyx beverage during the reception!
L’AMYX TEA BAR
3437 Lakeshore Avenue (at Mandana Blvd.)
Oakland, CA 94610
Store Hours: Sunday–Saturday: 10:00 a.m. –11:00 p.m.
(510) 835-TEA2 (835-8322)
http://www.lamyx.com
OAKLAND, California—Oakland artist Lorrie Fink opens a solo exhibition of recent paintings at L’Amyx Tea Bar on May 2, 2010, with a reception for the artist on May 7 from 5 p.m. to 7 p.m.
In her oil paintings inspired by organic forms found in nature, Lorrie Fink explores connections between painting, nature, and the rhythm of life cycles. Her work is informed by coastal ephemera and images collected from the macroscopic landscape of the natural world. Colorful and expressive, her paintings depict intersections that are revealed when peering over edges and into seams. She considers what’s above and below the surface, as her series of spatial maps unfolds.
L’Amyx Tea Bar seeks to provide community access to educational, informational and cultural resources, and encourages artistic and cultural interests by showcasing Bay Area artists at its Lakeshore Avenue and Piedmont Avenue tea shops. L’Amyx features rotating exhibits approximately every two months.
For images or further information about this exhibit, please contact: Lorrie Fink, (510) 326-1990; e-mail: lorrie@lorriefink.com, web site: http://wwwlorriefink.com.













Christina Corfield crafts moving dioramas which flaunt the brush of a gaze and the stroke of a sword. Her videos hyperbolize the Old Regime’s pretend-sion, ignoring distinctions between historical documentation and fairy tale musings. Redundancy and stripped down actions append significance to the subtlest minutiae. Keer Tanchak’s aluminum glamscapes, which mix 1800’s lackadaisical malaise with the 2000’s self-awareness, quietly invite circumspection of modern wealth and frivolity. Tanchak’s exploitation of Old France’s artificial flavoring sweetens the modern epidemic dubbed “bourgeois ennui.” With seductive visuals and witty commentary, absolutism was never so liberating.
If Only features a maze of life-sized sculptures of children on leashes crisscrossing and obstructing the gallery space. Constructed of newspaper, plastic bags, archival tape, and glass eyes resembling Olsen’s own, his kid creations tethered by their leashes are simultaneously humorous and confrontational. Are “brat-straps” a practical device to supervise a child’s exploration or an instrument suited only for controlling an animal? By blurring the line between animal and human, Rune Olsen targets fundamental emotions to test the interplay between freedom, control and submission.

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