The Momentary: Clare Asch, John Daly, Jeffrey Heyne

THE MOMENTARY
Associate Member Exhibition
curated by Georgina Lewis + Lior Neiger
August 4–29, 2021

Installation Views Left: "Adams I" and "Adams VI" by John Daly Right: "Bridge with Orange and Pthalo Blue, 8:24 am" by Jeffrey Heyne

Installation Views
Left: "Adams I" and "Adams VI" by John Daly
Right: "Bridge with Orange and Pthalo Blue, 8:24 am" by Jeffrey Heyne

"The Momentary" is a show that illuminates time as a marker, both absolute and arbitrary. Things can change in a minute. An instant can seem staggering. The momentary is consequential. The exhibiting artists consider how time functions in their respective mediums and art practices, and how their various approaches changed as a result of the pandemic.

Below artists Clare Asch, John Daly, and Jeffrey Heyne share their process, practice and approach in creating their work.


Clare Asch

In my paintings I start out with a geometric structure that is altered and expanded on through the use of painterly gesture and the natural flow of the materials. Once the geometric structure is established, I work on each painting in layers. The spontaneous layers correspond to moments in time. Each painting can be seen as a journal made up of momentary experiences that upon completion chronicle a story.

Clare Asch ”Convergence 14” Acrylic on canvas over wood panel 56 x 58 inches

Clare Asch
”Convergence 14”
Acrylic on canvas over wood panel
56 x 58 inches


John Daly

As a landscape painter whose approach is rooted in abstract expressionism, time is an essential component of my subject matter and process. Just as the landscape is reworked by its human occupants, I investigate the aesthetic possibilities of resulting cultural landscapes via an iterative strategy—making multiple acrylic paintings of a specific locale and landscape type (mine, cranberry bog, airfield, etc.) in a search for an archetypal expression that unifies the place and type. Early paintings in a series are laborious; later works happen in a relative instant because they are a distillation of what has come before. The pieces in this show are those that represent the joyful and rapid culmination of this investigatory process.

John Daly ”Adams VI” Acrylic on hardboard panel 36 x 36 inches

John Daly
”Adams VI”
Acrylic on hardboard panel
36 x 36 inches

John Daly ”Adams I” Acrylic on hardboard panel 6 x 6 inches

John Daly
”Adams I”
Acrylic on hardboard panel
6 x 6 inches


Jeffrey Heyne

For five years now, I lie in wait for those occasional days when fog rolls in from Boston Harbor and enshrouds the Old Northern Avenue Bridge–all in the effort to capture a new photographic portrait of this rusting iron structure.

With recall to the strange and accidental colors resulting from my failed attempts of developing color slide film 45 years ago, I employ these same colors on these bridge photos. I hope to elicit a mood, but also raise an awareness over the chemical nature that can make colors seem aesthetically pleasing, but also potentially toxic.

Jeffrey Heyne ”Bridge with Cobalt Violet and Phthalocyanine Green, 8:35 am” Archival pigment print mounted to plexiglass, on Dibond panel, with frame 45 x 30 inches

Jeffrey Heyne
”Bridge with Cobalt Violet and Phthalocyanine Green, 8:35 am”
Archival pigment print mounted to plexiglass, on Dibond panel, with frame
45 x 30 inches