Artists Jonathan Rypkema and Adam Eddy show an exhibition of abstract sculptures, atmospheric paintings and more this weekend at Hed Hi Studio. The exhibition is called Continua, as a reference to the idea that an artist’s work shifts on a continuum, as a response to life, work, environment and exploration in the studio.
Both artists see themselves as translators of their respective experiences through their works, which also share a colorful and playful aesthetic sensibility. The artworks presented by Eddy and Rypkema will explore categorical dissolution: between form and function, object and environment, interior and exterior.
See the work this weekend at Hed Hi Studio, with an opening reception 6-10 p.m April 28, plus viewing hours from 10 a.m.- 3 p.m April 29-30.
Rypkema uses found materials, often sourced from building or industrial sources, to construct sculptural forms that suggest architecture or potential functionality. Eddy uses paper, paint, pixels and screens as interchangeable vehicles for color and atmosphere.
Eddy said he wanted to collaborate with his friend Rypkema not only for the similarity in their aesthetic, but also for the way they approach artmaking as a response to environment, materials and the interconnectedness of work and life.
“Continua refers to this idea of the blurred lines of the different parts of our practices and the different parts of our lives,” Eddy said.
Both artists have worked in artmaking-adjacent jobs like art framing and art handling, and in this show, they acknowledge the interconnectedness of those experiences to their respective studio practices.
“The title came from this idea that there aren’t really boundaries between what we classify as our work, our art, quote-unquote, and our lives,” Eddy said. “This show is about letting those things flow together.”
Architectural forms
Rypkema brings a background in building, and he certainly lets that flow into his art making practice — many of his materials come from friends who work in construction.
“I’m using these scraps and materials that were given to me, and that’s the starting point for my work,” Rypkema said. “So, I don’t get to choose the colors, the sizes of things, the colors, the type of material. Those choices are made for me, and [the work] is my reaction to those things.”
Rypekma’s said although his architectural sculptures are quite rigid, the process of making them is organic and spontaneous. He doesn’t like to “overplan” what the end product will look like, and instead prefers to work with an open mind.
“It keeps me more engaged while making the piece, kind of organically building it. There’s a sense of improvisation.”
Rypkema is constantly experimenting with new materials. Some of his most recent sculptures plug into the wall and emit light — Rypkema said these sculptural objects exist between functional and formal.
“The way I see it, art and sculpture kind of function between being something that is useful in life, but then also interesting to look at,” Rypkema said.
Atmospheric gradients
Alongside Rypkema’s sculptures, Eddy presents what he called “atmospheric paintings” on shaped wood panels.
To create these works, Eddy builds custom panels and mounts oil paper to the face of them, creating an absorbent painting surface. Eddy has explored abstraction in his longtime painting practice, and in the past, has used spray paints to create gradient effects.
He said using spray paint began to feel “too mechanical,” and he wanted to get his hands involved in the process.
“I discovered that I could make atmospheric gradients by just rubbing the oil paint into the paper, almost like a stain, rubbing the paint with rags and with my fingertips. It’s this more human, immediate way of making these gradients,” Eddy said.
Eddy said his paintings, which are often made outside, are records of his surrounding environment, which he allows to flow through his hands and onto the surface.
“I paint them outdoors, but it’s not that I’m doing observational landscape painting,” he said. “It’s almost more like allowing the sort of color situation or physical sensations I have while painting to guide what ends up happening on the painting. “
“I think in a way, Jonathan and I both see ourselves as translators of our own experiences into these artworks,” Eddy said.
In recent years, Eddy has also delved into making art digitally. For Continua, he’s crafted a custom AI script which will be projected onto the wall. He said the animation features UFOs which fly around temple-like structures reminiscent of Rypkema’s sculptures.
Both artists have created works that demand interaction with the viewers in the gallery space.
Eddy will pull viewers into deceivingly flat atmospheric spaces and create space for presence and introspection. For Rypkema, light will pass through the plexiglass parts of his sculptural works, which are viewed in the round, and will cast colorful lights and shadows on Hed Hi’s white walls.
“There’s no wrong way to view them, I’m not setting up a certain way for people to see them,” Rypkema said. “It’s more about making them available for people to look at and engage with however they like.”
Continua is available to view in-person this weekend only.
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