Kim Rugg
There Are Still Unresolved Questions, 2009
Ink, pencil and acrylic on paper
23 x 13 inches
Abundance of Eight, 2009
Ink and pencil on paper
23 x 13 inches
Return to the Skies, 2009
Ink and pencil on paper
23 x 26 inches
A Bad Day for Icons, 2009
Ink and pencil on paper
13.78 x 5.91 inches
They're Great, 2009
Cereal packaging on board
13.78 x 5.91 inches
Cap'n Crunch, 2009
Cereal packaging on board
13.78 x 5.91 inches
Corn Flakes, 2009
Cereal packaging on board
approx. 13.78 x 5.91 inches
Self Portrait, 2009
Unraveled wool Gap sweater on canvas
32.68 x 41.34 inches
That's Enough Hope, I'm Off to Work, 2009
Reconfigured newsprint (The Daily Telegraph, Obama Inauguration)
23.62 x 14.57 inches
Skrakaaakt, Basssh, Splash, 2009
reconfigured postage stamp and envelope
approx. 16 x 10.5 inches
Wwoosh, Thwaak, Boof, 2009
reconfigured postage stamp and envelope
approx. 16 x 10.5 inches
Brammm, Aaaaaa, Zzzzaakkk, 2009
reconfigured postage stamp and envelope
approx. 16 x 10.5 inches
Pixel I, II, III, 2009
reconfigured postage stamp and envelope
approx. 16 x 10.5 inches
Dots, I, II, III, 2009
Reconfigured postage stamp and envelope
16 x 10.5 inches
Spinning Tops, Chicane, Ondulation, 2009
Reconfigured postage stamp and envelope
16 x 10.5 inches
Pimple, 2008
reconfigured wallpaper
dimensions variable
Edition of 6
Melt, 2009
reconfigured wallpaper
dimensions variable
Edition of 6
Daisy, 2008
reconfigured wallpaper
dimensions variable
Opening Reception: Saturday, February 13, 5-7p
On View February 13 – March 13, 2010
Mark Moore Gallery is delighted to announce a sophomore solo exhibition of new work by Kim Rugg. With surgical blades and a meticulous hand, Rugg dissects and reassembles newspapers, stamps, comic books, cereal boxes and postage stamps in order to render them conventionally illegible. The front page of the LA Times becomes neatly alphabetized jargon, debunking the illusion of its producers' authority as much as the message itself. Through her reappropriation of medium and meaning, she effectively highlights the innately slanted nature of the distribution of information as well as its messengers. Rugg will also debut several new hand-drawn works alongside wallpaper installations, both of which toy with authenticity and falsehood through subtle trompe l'oeil. Her work can be seen in the National Gallery of Art (D.C.) and the Frederick R. Weisman Foundation (CA), among other collections.