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FRANCES BAGLEY + RYAN BURGHARD
at Cydonia Gallery
by Todd Camplin

If your into a little light reading of post structuralist theories, you might want to continue your study
with a little visual education at Cydonia Gallery. Sadly the current show of Frances Bagley and
Ryan Burghard is coming down this weekend, so your window of opportunity is closing. Even if
you’re not into the philosophically dense books, you will still feel a great deal of emotional
depth for these two artists in dialogue.

I know this is a last minute write-up about a show I would like you to see, but it took me a
great deal of reflective thought in order for me to create words that described my
feelings. For me, the two artists almost merged into one with several pieces in the show
and other times distinctive voices seems to be cry out their individuality. The best
conversations between friends and art comes from waves of disagreement and
consensus. The theme I derived from the show was the power shown in multiplicity.
Frances Bagley’s piece titled Perch and Ryan Burghard’s piece titled Hold are both
made of individual fibers to make a whole object. Burghard’s twined rope seemed to
have possibility of an on going functions while Bagley’s cut braided hair has lost function.  
Where You End and I Begin Installation (L-R) Frances Bagley, Woven Torso, 2005, Steel and reed, 46 x 24 x 22 inches ;
Ryan Burghard, Untitled, Salt, ammonia, mason jar, carboard tubes,  7 1/2 x 62 1/2 x 79 inches. All images are
courtesy of the Artists, CYDONIA
Frances Bagley, Chou, 2014, fabric and resin, 33 x 59 x 57 in
Frances Bagley, Perch, 2000, Organic
Fibers and steel stand. 17 x 13 in
Burghard’s Untitled piece made of salt and ammonia in a mason jars with cardboard
tubes inserted into each one was quite the spectacle. When I was told that coal miners
would give their wives this concoction as a type of floral substitute, I began imagining my
grandfather presenting one of these to my grandmother. At first I can’t imagine she would
have been impressed, but as the thing grows, the white salt just builds up and falls back
into the jar and seems to bloom out over the sides. It must have given her pleasure to see
such a strange, yet beautiful expression of chemistry. Image this jar growing crystals next
to over a hundred other jars and now you have an event. I see this as something akin to
watching stars fall in the sky during a meteor shower. I could have stayed there for hours
watching the crystals fall.
Ryan Burghard, Hold, 2015, Spliced manilla rope, 5-8 in x 45 ft
Bagley’s piece titled Cho made of fabric and resin also had a flower like quality.
Simulating pedals that progressively got smaller toward the center. Unlike Burghard’s
Untitled piece, Bagley’s work was like a preserved flower, no longer growing, but kept as
evidence of its former life. To me, these two pieces talked to each other, but said very
different things.
Ryan Burghard, Tracing Lines, 2015, Nails, wire, 7 1-8 x 73 in
After seeing several Cydonia Gallery shows, it seemed obvious to me that Dallas’ own
Frances Bagley might end up in a show. But finding an artist so well paired with her like
Ryan Burghard is, shows the skill and quality of the curation of the gallery. After the
closing on the 9th, Cydonia Gallery will be taking a winter break and opening up on
January 30th for a show about abandoned places by the artist Oscar Berglund.