"In the small back room of Gallery 114, the unexpected juxtaposition of abstractions by Sally Finch with landscape photographs by Phil Harris yields intriguing effects. The two artists, with entirely different sensibilities, have in common a preoccupation with ephemeral environmental conditions; both rely on the grid as an organizing principle in their work. Similarities appear at first to end there. Finch's quiltlike squares in ink on paper or in crocheted wool continue her longstanding experiments in data visualization,"
"The exhibition title, Passing Time, references both the temporal frameworks of Finch's weather datasetswinter 2020-21 and spring 2021as well as Harris's attempts to suggest duration through serial images of a particular site. The punning significance of passing time, in the sense of idly waiting, is belied by the obvious labor and focused attention of each artist's process. Finch gets her information from the National Oceanic and Atmospheric Administration website, noting the average temperature and total precipitation for any given day in Portland."
An exhibition pairs Sally Finch's abstractions with Phil Harris's landscape photographs, both preoccupied with ephemeral environmental conditions and organized by grids. Finch translates NOAA daily weather statistics into quiltlike grids using color and stressed ink bars, recording date, average temperature, and rainfall within each square. Harris employs sequenced digital photography to suggest duration through serial images of a single site. The exhibition title, Passing Time, references Finch's temporal datasets and Harris's serial approach. Finch's coded visualizations resist easy decoding, inviting viewers to search for correlations between adjacent squares and confront limits of visual resolution. The works reveal intensive labor and focused attention behind seemingly idle passing of time.
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