This exhibition took measure of Athens, Georgia artist Cheryl Goldsleger’s production over the past six years. It traced her early architectonic spaces, through the maze-like repetitions and grid formats, to her current work involving computer- generated drawings and inset sculptural forms within the paintings. Throughout her artistic trajectory, Goldsleger has defied easy categorization. She has made drawings, prints, paintings with encaustic, and even sculpture, yet the medium has never been the message.

Goldsleger began employing architectural imagery in her paintings and drawings during the mid-eighties eventually combining these with labyrinthine overlays during the mid-nineties. She has been widely exhibited with multiple solo exhibitions in New York, Philadelphia, and Atlanta and locations in between. Goldsleger has pieces in the permanent collections of numerous national and international museums including those of the Brooklyn Museum, High Museum of Atlanta, Israel Museum, and the New Orleans Museum of Art.

According to exhibition curator, and Halsey Gallery Director Mark Sloan:

“The art of Cheryl Goldsleger is a kind of mapping. The coordinates represented are non-distinct yet geometrically insistent. Within there is a palpable tension between logic and collapse –order and chaos. This duality raises the question of purpose. Are these drawings or plans for something yet to be built, or, are they records of ruins? Are they architectural blueprints intended to conjure actual buildings, or, visual representations of the mathematics of music – musical maps?”