Tim Dooley

Tim Dooley's current exhibit is deceptively cheery. While brightly colored prints and the remnants of gift-wrap ribbon decorate the floors and walls, an examination of the work's myriad details reveals that something sinister this way comes. Made up of digitally created prints and sculpture, Mixed-Product depicts, among other things, oozing mouths, gaping orifices, and spilled matter. Multihued wires meander from wall to floor, eventually finding their way into a fur-covered box with a nipple. The artist's amalgamated mammal blends the natural and the artificial and seems bent on tickling as much as titillating. Using the image of a telephone cord as a leitmotif, Dooley hints at the volatility of modern day technology and communication. In The Conversation, a springy telephone cord originates from the head of a flapping, headless chicken, but through a series of mad twists and turns winds up attached to the body of a military jet, implying messy entanglements both visceral and political. In his installation Campfire on the second floor, a darkened room is imagined as the great outdoors. Faux glowing embers set around a campfire—along with a cooler, crumpled beer cans, and The Outdoors Man's Cookbook—accompany cardboard cutout critters lurking in the shadows. Dooley's re-creation of a campsite in which even the faintest vein on a paper leaf is rendered artificially suggests the commodification of the wild and the blurring between urban and natural environments. In spite of the artist's hints at underlying danger, and like most successful forays into the wilderness, Dooley leaves his viewer wanting S'more. Kirkland Arts Center, 620 Market St., 425-822-7161, www.kirklandartscenter.org. 11 a.m.-6 p.m. Mon.-Fri., 11 a.m.-5 p.m. Sat. Exhibit runs through Aug. 6. SUZANNE BEAL

 
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