Reverie and Alchemy: a Cabinet of Curiosity

Towson University launched February with two compelling exhibitions: "Reverie and Alchemy," a group show featuring 15 artists, and MFA exhibitions by Lolo Gem, Tara Youngborg, Nguyễn Khôi Nguyễn, and Cody Pryseski.

"Reverie and Alchemy" reimagines the traditional "cabinet of curiosity," a concept historically linked to encyclopedic collections of objects. The exhibition acknowledges the cabinet's problematic history while embracing its postmodernist qualities: "its dependence on individual interpretation, its complex and contradictory levels of meaning, its joyful mixing of genre, and its disregard for any notion of universal truth." This thematic approach manifests both literally, with displays of preserved insects, anatomical models, and vintage games, and metaphorically, as a broad showcase of contemporary art.

from top to bottom: Brad Blair, Deep Space Sorcerer (2023), Stoneware Clay, Faux Fur, Steel Arrow Tips & Ball Bearing, Glass Eyes, Crystal, Apoxy, Wire, & Microbeads, 13” x 13” x 4.5”, A Moment of Concern (2019), Earthenware Clay, Faux Fur, Acrylic Eyes (Created by Camille Smooch), Apoxie Sculpt, Metal Earrings, Monofilament, Swarovski Crystal and Glass Microbeads, 9” x 8.3” x 5”

Brad Blair fully embodies the exhibition's spirit of curiosity with his whimsical, mythological sculptures. His hybrid creatures, blending human and animal forms, recall ancient Olmec aesthetics while drawing inspiration from cryptozoology, insects, video games, and R.L. Stine’s "Goosebumps" series. The cover art for Stine’s "Deep Trouble II" and "The Haunted Mask II" particularly informs Blair’s aesthetic. Featured in Baltimore Clayworks' "Where the Wild Things Are" exhibition, Blair skillfully integrates a range of materials—acrylic eyes, cast resin teeth, rubber tongues, and fur—into his ceramic sculptures, pushing the boundaries of the medium.

from top to bottom: Brad Blair, Whitewater Watcher (2020), Stoneware Clay, Glass Eyes, Faux Hair, Apoxie Sculpt, Stone, Steel Arrow Tips, Metal Watch Parts, Swarovski Crystal and Glass Microbeads, 9” x 12” x 6”, Intergalactic Grumpfish (2023), Stoneware Clay, Resin Cast Fish Fins, Glass Eyes, Apoxy, Steel Arrow Tip, Faux Fur, Fiber Tufts, & Glass Microbeads,10” x 11” x 8”

Stephanie Garmey and Quentin Mosley offer distinct yet thematically interconnected works. Garmey’s taxidermy-inspired sculptures incorporate intricately cut paper and mixed media, while Mosley’s wall pieces channel the primal essence of prehistoric cave paintings. Both artists, alumni of MICA’s Hoffberger School (1995 and 1972, respectively), have built strong exhibition presences in the DMV area and beyond.

Mosley’s work features imagery of bulls, fire, Venus figurines, and other nude forms, directly referencing prehistoric art such as the Lascaux and Chauvet cave paintings, as well as sculptural artifacts like the Woman from Ostrava and the Venus figurines of France. His wooden constructions, layered with acrylic paint, create depth and movement, evoking a Neolithic visual language. Unlike the commercial spectacle of "Van Gogh: The Immersive Experience," Mosley’s work transforms historical influences into deeply personal and thought-provoking pieces. His hieroglyphic-like lines oscillate between the ancient and the futuristic, sparking curiosity about visual storytelling across time.

Quentin Mosley, The Original Blue Nude (2010), acrylic on wood construction, 53" x 38" x 5

Garmey, meanwhile, explores the delicate interplay between form and surface. Her three-dimensional pieces, such as "Lion" (2024) and "Red Shanked Douc Monkey" (2020), use cut paper to mimic fur and pattern, with the latter evoking the classic game "Barrel of Monkeys." "Grey Crowned Cranes" (2020) references taxidermy and natural history displays while maintaining her signature cut-paper aesthetic. In "Insect Curiosity Cabinet" (2011), Garmey arranges butterflies, beetles, and ferns in a space that blurs the line between science and art, presenting a cut-paper bird in a sterile yet intimate setting.

Stephanie Garmey, Insect Curiosity Cabinet (2011), cut paper, wood, glass, screen print, dimensions variable

Garmey’s "Insect Curiosity Cabinet" complements Alex Garove’s shadowboxes, which incorporate biological ephemera such as bugs, snakeskin, and flowers within intricate laser-cut designs. Garove’s work aligns seamlessly with the exhibition's theme, balancing the aesthetics of pinned insect specimens with compositions that transcend traditional dioramas. Her series "Illuminated Histories" was originally created as a collaborative installation for the grand reopening of the Peale Museum in September 2022, in partnership with Towson University’s Coordinator of Art Education, Dr. Diane Kuthy.

instillation shot including Stephanie Garmey’s Grey Crowned Cranes (2020) and Caitlin Gill’s Runneth Over series

Caitlin Gill presents her "Runneth Over" series, which explores empathy as a pyramid scheme. While the conceptual connection to this phrase remains somewhat opaque, her hand-cut paper collages depicting roadkill convey a stark and poetic visual language. The cadaverous color quality to the creatures themselves contrasts strongly with the stark white background almost giving the sense of the forms floating into the after life. A Towson graduate, Gill serves as the Exhibition Director and Arts Directory Coordinator for Maryland Art Place (MAP) and the Maryland State Arts Council. In 2024, she founded the Goxxip Girl collective, which quickly gained traction with exhibitions at XoXo Gallery in the MAP building and pop-ups in Baltimore and Philadelphia. While her curatorial work is extensive, seeing her personal artwork on display at her alma mater adds another compelling dimension to her practice.

Caitlin Gill, Racoon, Runneth Over (2023), watercolor on handcut paper

David London, newly appointed Director of Baltimore’s Baker Fund, showcases a series of mixed-media sculptures that range from figurative pieces reminiscent of "The Prestige" to robotic forms inspired by "Shut The Box," a historical gambling game designed for sailors. However, London’s works carry a more sinister undertone. His "Present Time Machine" is an elaborate, ornamental cabinet adorned with intricate wood ornamentation and a central screen. London describes his work as “the world’s first and only time machine designed to bring people to the exact place where the past meets the future.” Blending steampunk aesthetics with elements reminiscent of "Doctor Who," the piece watches the viewer through an icosahedron, refracting and distorting their reflection with a kaleidoscope-like effect. By capturing and fragmenting real-time imagery, the work becomes both an intriguing and unsettling meditation on perception and time.

David London, The Coronation (2020), mixed media, dimensions variable

Overall, "Reverie and Alchemy" successfully bridges historical references with contemporary interpretations, offering a rich and thought-provoking collection that invites viewers to explore curiosity in both literal and metaphorical ways. Representing ten artists from the Baltimore area, Towson has put on an exhibition that not only highlights the city’s art scene but also curates a cohesive collection of the contemporary and historic.