TRIPLEX: Three Strands of Thought

We chose to title our show TRIPLEX, Three Strands of Thought , (noun:
trip-leks) using an illustration of a triple helix DNA molecule, a rare genetic structure where the third strand winds around the central double helix in the larger spaces left by the original staircase shape.

The three of us sought different themes that are aspects of being human.
Kris chose “Hands “, Wendy chose “Aging “ and Ed chose “Curtains?”

KRIS KESSEY: HANDS • Hands are the “tool of tools” according to Aristotle.  They are the most frequently symbolized part of the human body… a complex, prehensile, multi-fingered appendage with opposable thumbs.  A grasping tool.  As humans, we use them in countless ways… for holding, stroking, caressing, punching, slapping,  grabbing, drawing, eating, operating machinery, pushing buttons, communicating,  the list is long…

I am not sure when I first became aware of how unique and useful hands are, I had taken them for granted for a long while.  Then one day I noticed that my hands were very similar to my father’s hands but not so much to my mothers. I noticed that my siblings also had our fathers hands.   I started to look at my friends’ hands, other relatives and strangers… how they were different and how they were the same, particularly among families.  I took my first photos of hands  in the mid-80’s – my father at his drafting board and my mother doing her morning crossword.  I took a group photo of my siblings’ hands in the late 90’s that I have included in this show.  

The rest of the images I am sharing are from friends, family and people I’ve met during my travels.

Every hand tells a story… the size, shape, length of fingers, skin texture, scars, wrinkles, paint stains, calluses… each one unique to the individual.  The hands reflect expression, emotion, personality, character, experience, culture, and occupation.  They provide insight into a person that words cannot.  I love the way hands can convey so much to us.  As a photographer, I am always drawn to images of hands, and I am delighted to share some of my favorite ones with you here.

WENDY DENTON: AGING •

In my exhibit thread, I explore the intricate tapestry of aging—its beauty, its challenges, and its profound stories. Each photograph captures not just the passage of time but the essence of lived experiences etched in the lines of a face, the grace of a posture, and the wisdom reflected in a gaze.

As we navigate through life, our bodies and spirits evolve, presenting a unique narrative that often goes unnoticed. This series invites viewers to pause and reflect on their own perceptions of aging, challenging societal norms that frequently celebrate youth while overlooking the richness of maturity.

I’ve sought to capture moments that convey vulnerability and strength—quiet reflections, shared laughter, and moments of solitude. I address such themes as “Forgetting Words,” “Consumer Culture and Aging,” “Pain,” “Indigenous Thoughts on Aging,” and others.

This exhibition is a reminder that aging is not merely an end but a continuation of stories, experiences, and identities. It honors those who have come before us and encourages a dialogue about the beauty of growing older, embracing every wrinkle and every gray hair as a testament to a life fully lived.

I invite you to step into this journey with me and see the profound beauty in aging, where every photograph is a chapter in the ever-evolving story of humanity. Thank you for joining me in this exploration of time, memory, and the art of living fully at every age.

EDWARD GILLUM: CURTAINS? •

It was the mid 70s, and we had survived the 60s.

As an art student, majoring in sculpture, I was very happy to learn techniques like mold making and bronze casting. 

My financial aid would run out soon, so I would need to make some decisions. UCSC did not offer grad courses so I would have to leave Santa Cruz if I chose to seek an MFA.  

Over beer and pizza, my best friend told me about a special topics class being offered by a visiting professor Christina Hooper, “Generative Systems “.  Little did I know how participating in this class would not only open my mind to new possibilities and ideas, but most significantly how to analyze the nature of systems and to try to understand the relational aspects of connectedness.

The biggest change I felt from taking this class was that I would no longer be content to be an “object maker “and my focus shifted from applying methods and techniques aimed at how well each object I made was crafted to what each endeavor could communicate.

The following summer I participated in a sculpture workshop at San Jose State that would also be a game changer. What I had gained/learned from the “Generative Systems” class began to show up in the work I made and how I talked about art and life experiences.  I didn’t realize how strong of a connection I had made with Tom Walsh, one of the invited artists, until a few weeks after the workshop had ended. This came my way in the form of a letter from professor Tom Walsh, Head of Sculpture at Southern Illinois University, offering tuition waiver and a teaching assistantship . Now all I needed to do was to graduate from UCSC. And that is another story for another time. 

During the “Generative Systems” class, Christina often referred to her mentor, Douglas R. Hofstadter.  His book “Godel, Esher, Bach: an eternal golden braid”, “and won him the Pulitzer Prize.

I was in my second year of the MFA program at SIU-C when a parcel was delivered that included a warm message of hope and a copy of Godel Escher Bach. It is a hefty read, but rewarding.  Some 40 years later, I am retiring from teaching sculpture at Fresno State and I am affiliated with Spectrum Art Gallery, a local venue that specializes in photography and as the name implies all aspects of photography are appreciated and exhibited. 

I signed up for a show in November 2024, along with two dear friends/colleagues, Kris Kessey and Wendy Denton.  While considering how our various creations could work together in the gallery space and what to call the show, etc., I remembered Hofstedter‘s book. By revisiting the basic notion that the work and ideas of three important geniuses could form a golden braid, yet were created with obviously different approaches, and employed systems that were similar in so many relational ways.

My choice was informed by systems out of my control – having been diagnosed with multiple myeloma, a cancer of the blood and bone marrow. So my part of the show is an installation that utilizes visual illustrations chosen from the imaging done along with the chemotherapy I was prescribed.  X-rays, MRIs and PET scans were made to illustrate the malady and to gauge the progress of healing toward remission.  Vacuum formed 3-D replicas of  pills and capsules are flanked by photographic representations of decay and preservation printed on fabric to form the curtains.