Shine a Light

The artists represented in the two solos opening tonight at Ice Cube Gallery create their own distinctive work, but they share an interest in the same topic: light. In the north half of the gallery is Sophia Dixon Dillo: Light and Line, while in the south half is Sara Goldenberg White: String Theory.

These titles are slightly confusing, since Dillo, not White, is the one using string — or, to be more precise, fishing line. “Fishing line is delicate; it slows people down,” says Dillo. “In the fast-paced city life, with traffic and cell phones, I’m creating some quiet space in the midst of it all.” Dillo has taken miles of fishing line, which is translucent and catches the light, and strung it in a simple two-part installation on the walls and ceiling.

White employs photographs that she pierces and stitches together to make two- and three-dimensional objects. “I enjoy the fracturing and restructuring of imagery to create entirely different works, with the pieces exploring the stitched line — highlighting pinholes as channels for light to move through,” she says.

An opening reception goes from 6 to 10 p.m at Ice Cube Gallery, 3320 Walnut Street; both shows stay up through July 16. Call 303-292-1822 or go to for more information.
Fridays, Saturdays. Starts: June 24. Continues through July 16, 2011

Two new solo offerings at Ice Cube Gallery show members’ talent

By Michael Paglia Thursday, Sep 2 2010

I haven’t seen every show at Ice Cube Gallery (3320 Walnut Street, 303-292-1822, ), but every one that I have seen has been great. Part of it is the spectacular showroom — just about anything would look its best here in one of the nicest exhibition spaces in town — but it’s also because of the talent found in the membership.

The current offerings feature two of those talented members in separate solos, Sophia Dixon Dillo: Light Works and Ray Tomasso: Summer Light.

Dillo works with translucent materials and artificial lighting to create elegant, ceiling-hung installations. She takes sheets of paper, Mylar and plastic, and hangs them so that they run parallel to the walls. The sheets, which are back-lit by track lights, are bound at the top and bottom but have been left to hang freely on the sides. They’ve been pierced with patterns that transmit the light more readily than the backgrounds so the panels look as though they’ve been studded with sparkling jewels. In some, like “Translucent Crinkle” (pictured), Dillo adds passages of white paint. All of them rely on an extremely successful white-on-white aesthetic — though I do wish the track lights had been hidden behind defusers so they’d be more subtle.

Tomasso was the subject of a show at the Byers-Evans House this past spring, so I didn’t expect anything new at Ice Cube. Boy, was I wrong. This show is not only an extension of the one at Byers-Evans, but it marks a great advancement. Tomasso’s breakthrough is easiest to see in the spectacular “Gauguin’s Red Dog Passed Through the Yard,” a gigantic cast-paper painting. To say it has a “wow” factor would be an understatement. Tomasso seems to be leaving his craft-based approach and increasingly embracing a fine-art one.

Best Impersonation of a Museum by a Co-op 2011

Westword, Best of Award

Though it started up just over a year ago, the Ice Cube Gallery has already made its mark not just in RiNo, but in Denver’s art world as well. This is partly because of the obvious talent of the co-op’s members, who include Sophia Dixon Dillo, Theresa Anderson, Karen Roehl, Carol Browning, Katie Caron, Michael Gadlin, Ray Tomasso and Regina Benson. But it’s also because of the swank and enormous exhibition space that Ice Cube occupies in a handsome red-brick building that was once a dry ice factory; this impressive facility puts every other Denver co-op to shame.

Kathy Knaus and Theresa Anderson at Ice Cube Gallery

By Michael PagliaThursday, Mar 11 2010

The RiNo district, north of downtown, is now a center for art, but it was originally one of Denver’s prime industrial areas. Among the landmarks in the funky neighborhood is the old Dry Ice Factory, a handsome and substantial brick structure from the 1920s that looks like a misplaced element from LoDo.

Last year, the Ice Cube Gallery (3320 Walnut Street, 303-292-1822, opened on the structure’s first floor and, in the process, turned the place into Denver’s newest and most impressive artist cooperative, featuring a stunning set of exhibition spaces that resemble an interior you’d expect to find in a fancy downtown gallery. The current shows comprise two installations by a pair of Ice Cube‘s founding members: On the north side of the main space is Kathy Knaus: Meat Market, and on the south side is Theresa Anderson: Coliseum.

Knaus, who has lived in Colorado since she was a child, created an autobiographical piece that refers to her life as a butcher’s daughter. Her father opened Edwards Meats in Wheat Ridge back in the ’60s, and Knaus worked behind the counter when she was a teenager. For the show, she had a meat cooler made using the metal door her father built (detail above) and brought in his old sausage maker and other elements of the store. On the walls are a row of soiled butcher’s jackets and sheets of butcher paper; on one, Knaus has made a wallpaper-like pattern using bloody liver prints.

On the opposite side of the space, Anderson has lined the walls with smallish mixed-media works that include nude photos of herself that were taken during a private performance. These have been combined with found and drawn imagery along with passages of writing. The Anderson show is anchored by a pair of large boxes sitting in the middle of the floor that viewers may enter; one is lined in paintings done in her unique style, while the other has a smaller box inside with a peephole in it.

These two quirky shows run through March 20 at Ice Cube.

Displaced: A Diversity of Conceptual Works at Ice Cube Gallery

Posted: 02/25/2011 01:00:00 AM MST

( image: Rebecca Vaughan and Peter Illig )

Katie Caron, one of the area’s top clay artists, also happens to be a talented curator.

That becomes clear after seeing “Displaced,” a brainy, sophisticated group exhibition that runs through Saturday at Ice Cube Gallery — one of Denver’s most handsome art spaces.

Caron chose 11 artists from this region and elsewhere, including some of her fellow students at the prestigious Cranbrook Academy of Art in Bloomfield Hills, Mich., where she earned her master of fine arts degree in 2009.

In a statement accompanying the show, Caron writes that these artists “reveal the residue — often hidden in plain sight — that results from our culture’s constant creation and consumption.”

The theme’s exact meaning, though, seems less important than the opportunity to see this edgy, conceptually driven body of work by diverse artists who all seem in tune with the latest currents.

Among the highlights is an installation exploring domestic interiors by Max Blankstein of Detroit. It includes “Cast and Recast. Cast Off, Cast Out,” a funky re-creation of a radiator molded in red fleece-covered plaster.

In “White Reef,” a fragile, retiring piece tucked into a dark corner and gently lit from below, Tiernan Alexander of Philadelphia uses recycled knitted fabric dipped in porcelain to evoke the textured topography of a coral reef.

Nikki Pike of Denver has built a sound installation that is meant to be a kind of pipe organ. The piece, titled “Ice Bellows,” makes use of the captured sounds of ice melting to create an aural experience.

In addition to exhibitions in museums and commercial galleries, Denver needs adventuresome, independent offerings like this one, which give the art scene greater depth and dimension.

This ambitious show, organized on an almost non-existent budget, is a coup for Caron and this still-emerging cooperative gallery.

to read the whole article and more arts features go to

The latest shows at Ice Cube Gallery are a delight

Although it has only been a going concern for a few months, the upstart Ice Cube Gallery (3320 Walnut Street, 303-292-1822, has surely become one of the most impressive exhibition spaces in town. It’s not just how beautiful and spacious the facility is; it’s also the high quality of the work displayed there.

By Michael Paglia.

“As usual, there are two solos on view, supplemented by a group show dedicated to the work of Ice Cube‘s members. The main gallery has been divided into two separate spaces. Ahead and to the right is Personal Landscapes: Textile Installations byRegina V. Benson, while Resolution: Paintings by Patrick Loehr is off to the left.

Benson, who lives in Golden, has been making textile art for nearly thirty years, but it’s only been in the last five that she started exhibiting it. Her complicated process involves dying, staining, rusting, embossing and sewing. The results are abstractions in the form of wall reliefs and suspended installations, like the compelling “Amber Grove” (pictured). Benson is a native of Lithuania, and the reference to amber conveys not only the color of the piece — and of everything else in the show — but also her homeland, where amber artifacts are so highly prized that there’s a major museum dedicated to them.

Loehr, of Denver, is represented by two distinct bodies of work. The older pieces, done last year, are from his “Exquisite Corpse” series and refer back to a drawing game invented by the surrealists. A piece of paper is folded into three parts, and three artists create unrelated drawings that are brought together as one when the paper is unfolded. Loehr scanned the drawings and sent them to an Internet-based company that produces “authentic oil paintings on demand.” The results are very creepy.”