Press Release

Half/Dozen Left Right is pleased to present two group shows, Leave Your Door Open and Keep ‘em Coming: A Gallery Group Show. As the first two shows to fill our new spaces, Leave Your Door Open offers a glimpse into H/D’s new direction while Keep ‘em Coming includes work from the roster artists and points to where we are coming from.

Pulling together five artists working in the Northwest, Leave Your Door Open takes on moments of transition and meditation, while laughing at its own self-indulgence. A temporary structure by Zack Bent, prominently placed, is begging you to stay and take in the deep spaces created inside of Patrick Kelly’s Carbon Traces. Just as you think you may have found some kind of deep understanding, Nathanael Thayers Moss’ work mocks you with its sleight of hand. Meanwhile, Zoë Clark’s sculpture manipulates our perceptions of inner and outer space and Zachary Davis fools our perception with his holographic installation.

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Nathanael Thayer Moss


sim’-pli-cis-m: (n) The belief that the answers to all problems, no matter how complex they may seem, are easy to understand and uncomplicated by nuance or ambiguity.Illusions of perfection, formulating human error vs. mechanical precision. The simultaneous existence of simplicity & complexity of endless opportunities working in pre-determined parameters. Processing parallels. Alternating dimensional opportunities. Large scale icons vying for the attention of the cross-hairs. Staring down the barrel of a grid-based network trying to pinpoint the exact moment you noticed it.


Patrick Kelly


The drawings that make up the Carbon Trace series originate from wanting to work primitively with simple materials. The drawings are comprised of individual pencil lines tracing the movement of various shapes across a page. Although each drawing has a defined silhouette the interior both reflects and absorbs light hiding the true shape of the object. By this the viewer can be in a perpetual gaze.


Zack Bent


My current work is generated through formal and informal collaboration with my family (my wife and artist Gala Bent & our 3 sons) surrounding ideas of domesticity, habitation, and American civilization history. As play and work aren’t mutually exclusive to children, I have attempted to engineer photographic tableaus and performative installations that blur the line between our actual life and art practice. In the pursuit of these projects, we have lived inside Crawlspace Gallery for a week playing the role of modern car camping frontiersmen, re-modeled a life-sized Lincoln Log cabin in order to make an intimate play shelter, built towering bonfires and survival tools, as well as worked on an ongoing series of teamwork drawings.

A method I have readily employed to equalize our family and to shift our context has been the use of costuming. Most recently we played the part of a divergent troop of scouts. Scouting traditions contain a multi-tiered system of rites of passage, from learning social code and simple survival skills, to lifesaving and independent leadership, and even to rituals, which are comparable to spiritual coming-of-age rites. An exhibit in 2009, Buffalo Trace, focused on human limitedness in the conservation and preservation of nature including a reclaimed Douglas fir outfitted with birdhouses, a salvaged deer carcass, and a collection of my family’s tears. My most recent body of work further extended this inquiry with works that toed the line between play and catastrophe in the face of an unwieldy natural order. Fort Branch and a series of photographic documents and occurrences. To conclude the exhibition a performance was staged where my sons and I re-modeled the Lincoln Log structure to their specifications featured a set of artifacts including a full scale dilapidated Lincoln Log cabin (drawing on the nearly one hundred year old toy designed by Frank Lloyd Wright’s son John during the Progressive Era).


Zachary Davis


Zachary Davis is a multimedia artist living in Portland, Oregon. He works individually and as part of the Appendix Collective.  He is a co-director of Appendix Project Space, and in December 2010 curated a group show at Ditch Projects in Springfield, OR.  In July he will be opening a solo exhibition of his work at Extra Extra gallery in Philadelphia, PA.


Nested in formal and temporal near-symmetries, a pair of found objects slowly expend their energies on a vision which is both persistent and ephemeral.


Zoë Clark


There is a struggle to reach an end point.  What that point is exactly is clouded in uncertainty as it inevitable shifts.

The process becomes a frustrating endeavor.  I want to be absorbed.  I need to be absorbed.  I want to get to the point that my mind can be there and not every where else.

I want to be trapped by it.  For it to be a protective hold. It captivates in a frightening way, negating my control while simultaneously providing comfort. I become inundated. The push, desire, need for pleasure.  This is the thing that I strive for without the direct proof of its sustained existence.

Zoe Clark looks, reads, smokes here.  She is lucky to count her friends as family and her family as friends.