Open Range presents a collection of work from all four Tiger Strikes Asteroid locations by Holly Cahill, Vincent Como, Jackie Hoving, Esau Mcghee, Brian Porray, Kayla Romberger, Jonathan Ryan, Ricky Yanas and curated Carl Baratta, Rachael Gorchov and Michelle Wasson.

The works featured invite their viewers to consider the scope of associations the word ‘landscape’ evokes: An art historical genre, a verb, a term used to describe natural environments, geographic constructions and cultural climates.

Holly Cahill’s paintings reference the topography of architecture and the natural landscape. Her images are at once hard edged and fluid, suggesting a slippage of time and space.

In Vincent Como’s Procession of Dust series, viewers are confronted with a shadow box enclosing dry pigment and double sided tape. Formally reminiscent of abstracted landscape, these works reference the physical shifts in our environment that occur geologically over time.

Jackie Hoving’s paintings are at once portrait and landscapes. She paints the space between an inferred viewer and a shadowy figure, shifting the focus of our attention to the atmosphere and dimensional depth between individuals.

Esau McGhee is interested in how the shared experience of public space connects and democratizes.  He employs found photos and patterned papers to create geometric collages that evoke the urban landscape.

Brian Porray makes loud, messy, intricate, weird painting that buzz with ardent, reckless energy. His undulating forms stimulate the eye and remind one of psychological meltdowns or intense acid trips.

Kayla Romberger’s Fleur presents a series of photographs of cut flowers housed in a rolling suitcase. Uninsulated, the glass in the frames breaks a little more whenever the piece is in transit, standing as a record of space traversed. 

Jonathan Ryan creates drawings and paintings as a way to process and expand his relationship with his environment and personal experiences. His work is influenced by his intimate surroundings, travel experiences, and art historical references.

In Ricky Yanas’ Decoy series, he documents himself being detained when photographing institutions such as malls, highways and border checkpoints to in his words, “create a revelation of the ideology standing behind the apparent freedom allowed in most public places.”