Allison Renshaw’s vibrant paintings lead one into an organic world of color. For her 2007 exhibition at QCA, Fragments, she combined images from fashion magazines and advertising graphics with her cosmic paintings. Of this work, Renshaw said, “These found fragments are turned into something new, something inexplicable. Lines between the organic and the man-made become blurred and a larger narrative is evoked through a banal fragment.” Her work transcends the everyday, giving the viewer a sense of the world but in a bigger and better way.
The fragment offers a possibility of multiple perspectives, discordant vocabularies, and malleable boundaries. My paintings are informed by particles of our urban landscape and our culture found in the everyday. Fashion, modern architecture, and the natural environment combine and collide. In this setting, elements of plasticity and temporality are depicted in a suspended state of in-betweeness. I create a universe that is seemingly random and difficult to decipher. This chaotic quality becomes an apt visualization of today’s open-source culture of sampling and recycling. Lines between the organic and the man-made become blurred and a larger narrative is evoked through a banal fragment.
I am interested in how memories occur and connect a life of partial meanings. Fragments acknowledge interpretive ambiguities and open the work to sequences of spatial and temporal lapses. Memory and fantasy synthesize and unravel like a half-remembered dream. — Allison Renshaw
“Her style of fragmentation in this new work takes one back to James Rosenquist’s croppings and recombinations of images, which began with such paintings as “F-111.”… They build on what she has done already, adding traces of culture to those from nature.”
— Robert L. Pincus, San Diego Union Tribune, June 14, 2007, p. 30.