Fact or Fiction: The Hand in Photography and Information examines interventions in photographic and digital processes with paint, sculpture and technology. In the digital age attitudes towards photography are increasingly shifting from a means of expression and verification to one of skepticism and sensory overload. This change is due, in part, to declarations of “fake news” and “alternative facts,” as well as the ubiquity of editing software and proliferation of cell phone cameras capturing the details of everyday encounters and events for social media. Consequently, images are reduced to pictorial information detailing our interactions online and in the real world. The expansion of photography and information into nearly every aspect of our lives significantly dilutes its unique power and veracity creating, instead, an ongoing cycle of confirmation and doubt.
inner sanctum meditations offers a personal glimpse into an ongoing series of three-dimensional works, known as Sanctum Boxes, by Heppner. Each of the Sanctum Boxes, which are built out of cigar boxes and inlaid with symbolic contents, examine iconography that center around issues of peace and social justice. Inspired by the meditation practice during the Catholic Lenten season of the Stations of the Cross, the Sanctum Boxes focus on themes such as self-reflection, compassion and gratitude. Viewed as self-actualization pieces, each work is a meditation on personal growth.
In this juried exhibition, artists explore the concept of a reflecting pool. Inspired by the feature found commonly in landscape design, a reflecting pool offers an illusory sense of depth and clarity by reflecting its surroundings, yet literally consists of a shallow pool of water. In playful dialogue with the myth of Narcissus and Echo, this exhibition questions self-perception in the digital age and how to achieve clarity about oneself amidst a world of distortion. Working in a variety of mediums, each artist explores territories of the collective psyche that reflect the self in the form of a landscape or an abstraction.
From the spring of 2010 to the fall of 2016 I visited New York City, Shanghai, London, Tokyo, Singapore, and other cities and documented intriguing colors, spaces, and architectural structures I found in those cities. These are creative images representing each city and replicas formed by modern Eastern and Western urban cultures. This project was executed through a process of selective gathering of such elements and my personal taste. In this process I explored my interest in the distinctive forms and impressive images of this age and posed questions concerning the most underlying form and import of all urban spaces.
As we often struggle over little things at the cost of larger objectives in our lives, I think that we may lose sight of the entire elemental form. As I tried to approach the true nature of form, shedding concrete images in balmuk (ink effects created by controlling the ink tonality and wetness of the brush), the blurred, ambiguous images I created were the results of my serious consideration of the true nature of elemental form representing the whole.
In this series of work, Yujung Chang captures images of a small group of Korean immigrants whose stories are not reflected in mass media. These piecesdo not contain the stereotypical story arcs of finding great success after struggles such as financial hardships, social isolation, or generational conflicts. Through this work, the artist focuses on the reality, un captured in media, that stability with a balanced mix of cultural and social backgrounds make up stronger narratives than dramatic ups and downs that are routinely told.
Yujung Chang is based in Seoul. Chang studied sculpture at Ewha Women's University before completing her M.F.A. in Fine art at Goldsmiths College, University of London. Recent solo exhibitions include ‘Original Soundtrack’ at Gallery Skape in Seoul; ‘Cultivated Portion’ at Gyeonggi Museum of Modern, Ansan, in Korea, and ‘Eclipses’ at Art First, London. Recent group shows include ‘Passage of Korean Contemporary Art’, at Yunseul Museum, Kimhae’; ‘ILLUMINE- Yujung Chang & Dan Holsworth’ at Assembly Rooms, London; ‘Look at their Story’, at Sungkok Art Museum, Seoul; and ‘The Magic of Photography’ at The Museum of Photography, Seoul, Korea. Chang's work is part of collections at Leeum Samsung Museum of Art, and Seoul Museum of Art.
The exhibition places Ikezoe’s stop motion video Hole in dialogue with a selection of Han’s recent drawings and paintings. In this exhibition both artists demonstrate an affinity for exploration and use their mediums as conduits for transformation and introspection.
Ikezoe states that “Nature exists not only in our surroundings but also within our bodies.” In Hole the human form and nature converge and separate. A man, a dog, plants and butterflies are clearly defined then integrated and rearranged as the body and the natural world repeatedly join together and break apart. The biological, chemical and universal collide and collapse. In Han’s recent series of paintings and drawing boats lead to gateways and pathways unfold onto areas of open expanse. Boats and architectural landscapes are reduced to their essential elements undoing historically novel approaches to composition. In these works Han’s inquisitive marks lead the viewer on a journey of exploration, providing us with numerous opportunities to reevaluate the relationship between space and form.
We can imagine culture as invisible connections composed of values, beliefs, ideas about appropriate behavior. Each one of appropriate behavior refers to a person’s sense of belonging to a particular culture or group. It is about learning and accepting about traditions, heritage, language, religion, aesthetics, thinking patterns, and social structures of a culture. Different behavior of culture is a part of self-concept of individuals. They interpret the events, happenings, and attitudes in the different viewpoints regarding cultural identities, even under same society.
The subject of Gaze in the context of this juried show, encapsulates the ways in which we experience the act of looking and being looked at. Ranging in expression and form, the artists selected examine notions of masquerading, visibility and invisibility as well as distortion of time and space. Bonam Kim, Katya Grokhovsky, and Sara Meghdari explore the act of seeing both through concealing and revealing their identities. In their works, the artists gaze directly at the viewer or surroundings and by so doing shift the role of the spectator, turning him or her as the subject. The artists Samantha DiRosa, Andrew Neumann, Alec von Bargen and Nechama Winston use various techniques, manipulations and archival footage to reconfigure reality and highlight different notions about perception. In their works, time, space and perspective are distorted, raising questions of what is (in)visible, fictional or real.
Spring welcomes the fresh and new, implying moist raw earth, warming to the sun, buds and shoots, unfurling leaves and fragrant blossoms. Or the cold waves crashing in spring onto a beach littered with driftwood, broken shells and heavy sand cast up from winter storms. It is a time of beginning, and clean starts. Spring Cleaning reminds us that the first time we open the windows and let a cool breeze waft through a room, it lifts our spirits. We anticipate interpretations of fashion that allow us to put on new clothes for the season, with lighter fabrics, revealing different contours and interpretations of the body, framing new identities.
Tanya Chaly makes visible the invisible forces of nature through interventions into her analytical drawings on paper of animals and the ecosystems they inhabit. Her work balances order with disorder, meticulously combining renderings in graphite and charcoal with indications of impending microscopic threats. Often, they take the form of thousands of pinholes depicting the molecular structures and toxins that impact species, and the delicate systems in nature that support them. While some of the most vulnerable of animals might adapt to these environmental pressures, others will mutate or succumb to them. The tension in Chaly’s work is apparent in the beauty of her drawing and the innate beauty of the creatures she’s drawn, while, simultaneously, acknowledging the possibility of their extinction. Her work and installations are layered with clues to understanding complex issues in science and life. In the process, poignant questions arise surrounding resilience, survival and loss.
The exhibition, Where Nature Ends, presents the work of seven artists who, together, display layered investigations into the forces of nature by portraying the shifting lines between the natural landscape and industrialization as insistent forces in harmony and conflict. Concurrent with the potential of technology to preserve and devastate, is a steady increase of natural disasters such as floods, earthquakes and extreme temperatures, as reported by the United Nation. Where Nature Ends examines these forces through disparate materials and techniques by contrasting the overwhelming power of nature, with its potential for inherent beauty and transcendence.
Kodama (spirit of the tree) is an exhibition examining the relationships between human beings and nature featuring work by Sophia Chizuco, Kurt Steger, Paulapart and featuring a performance with Zoë Galle (dancer). For Kodama, artists will create a landscape through a combination of sculpture, sound and a performance to question how humans engage with nature and how nature responds to our behavior. The curator’s Japanese heritage led to an interest in Kodama, a compound of the Japanese words for tree (ko) and spirit (dama). By tradition, spirits inhabit old trees. If one attempts to cut it down, he would become cursed according to Japanese folklore. The phenomenon known as yamabiko, when sounds make a delayed echoing effect in mountains and valleys, is sometimes attributed to this kind of spirit, and may also be referred to as kodama.
The Cluster Gallery is pleased to present Mindful Practices, a two person exhibition of mixed media collages by Susan Newmark, and crocheted wall hangings and sculpture from plastic bags by Antonia Perez. In the tradition of artists choosing artists for exhibitions, Newmark has “long sensed an affinity with Perez as they work in a common additive process and practice a meditative mindful approach to art making. “Mindfulness”, as defined by the neurologist John Kabat-Zinn, “is awareness that arises through paying attention, on purpose, in the moment, non-judgmentally… it is about knowing what is in your mind”.