Fascinated by Stephen Hawking’s question “How do we know we have the true, undistorted picture of reality?”, Sabrina Puppin, a former realistic painter, started to create work that depicts a visionary space, which is defined by fluid, abstract forms and glossy hyper-colorful paints, creating its own reality. The work is an abstract visualinterpretation of reality in which the artist attempts to understand and appreciate abstraction as a phenomenon of perception and inclusion in reality, where each and every perception by anyone is a valid attempt to understand the truth. Perception based on abstract interpretation is an intrinsic part of reality, not a false image imposed upon it. The work is characterized by intuitive and loose paint handling, spontaneous expression and controlled process, as well as an irrepressible intervention of the medium, to create illusionist space. The work presented is the most recent investigation of the artist’s observation of reality and the distorted perception she has of that reality.
Leila Plouffe uses performance videos and soft sculpture to explore our association with shame. The sculptures are of intimate items we use everyday. She interacts with these sculptures and confronts our feelings of shame associated with them. It looks at how shame forms our identity and our past and future views of ourselves. With her use of material and technique, Plouffe also explores feminism in our everyday existence. By using sewing and knitting, undervalued crafts traditionally associated with women and home, she creates an emboldened and powerful work of art in the form of giant, technicolor-hued soft sculptures.
Murphy’s work marries traditional illusionistic painting space with the latent psychological aspects of digital manipulation to explore the sexual unconscious.
Her images are intimate, even erotic and reference various body parts, some comic, others hideous. These images are compelling,even disturbing, but also playful, straddling comedy and tragedy. She sees the grotesque as a reflection of her own reality and theseworks embody the tension she feels between the deadly serious and the blackly, subversively humorous.
Murphy’s work is not conventional realism, although she uses a photographic source: the face of one sibling from a commemorative family portrait. She manipulates the face of this sibling in Photoshop, recording her feelings about the dynamics of their relationship. These mages are then enlarged and translated into visceral paintings on paper that combine the precision of digital imaging with the tactility of oil pastel.
The Cluster Gallery is pleased to present a group exhibition featuring artists from the Brooklyn Art Cluster Studios, 19th Street Work Space, and Top Top studios. “In Their League”, curated by Dr. Sabrina Puppin, will run from November 2 through November 25, 2018 with a public opening reception on November 2, 6 - 8pm.
Small Works Group Show for GOS 2018
Ria Vanden Eynde uses figurative vocabulary as visual journalism to provide a social critique. Through her work she channels her anger and frustration about the social injustice and the unjust power distribution. The artist openly declares her feminist position in the world by providing a visual social commentary. Her work speaks against injustice and questions the status quo, encouraging the viewer to recognize, relate, and identify with the images depicted. Thework presented in “Changing World”, sourced from images in the news media and the web, uses social realism to draw attention to the condition of refugees and migrants. Ria Vanden Eynde wants to force the viewer to look at the others’ suffering, to be part of their suffering, and tobecome accountable for it, hoping that the onlooker will question policies that cause thissuffering and call for those needed changes to create a better world.
The iconic underworld figure in Greek mythology, Charon, appears in the Renaissance painting by Joachim Patinir, portraying the ferryman in a small boat, amidst the river surrounded by two islands. Charon’s role is to ferry the dead across the Styx River, which separates Hell from Heaven. This jarring depiction, presenting the destiny of the person being transported as unclear, conjures anxiety and discomfort. Will Charon turn left or right? Taking this image and story as a point of departure, Casilda Sanchez further investigates the notion of choice in her recent body of work. “In life we will always still find ourselves in such moments, when we need to choose a path, knowing that whatever we decide will shape our lives. And possibly the lives of others. Living means adapting, embracing change and ultimately making decisions. And choice is possibly the most powerful tool we have to shape reality,” Sanchez states. Every turn is meaningful, but nonetheless there are certain moments in life when we find ourselves in a crossroad, tuning our ears to the sound of the foghorn that will guide us. It is that moment which is most definitive, as it will ultimately determine our destiny. When we find ourselves is such a complex situation, time seems to stop, until we move again, in one specific direction. Then, life resumes, and we start walking through a newly shaped reality.
What happens to artists after art school? Do they find their artistic way and keep making art? What is the firststep for their art career? These nine artists just graduated from the School of Visual Arts, NYC and have a chance to show their work out of the school. Each artist represents different ideas and have different social and cultural backgrounds. Their work spans over a broad range of media and represents diverse life and/or world perspectives.
“Mountains Dance on Tiny Feet”, Leo Kottke, “Lullaby"
The central dynamic in the sculptures of Malin Abrahamsson is transformation, which she describes as “equal parts survival instinct and rebellion against stasis”. Embracing unstable conditions and celebrating the multifarious, she constructs precarious contraptions, hybrids of the found, the industrial and the organic, that prevail through sheer force of invention and imagination. These objects are in flux, their identities unstable, in transition to uncertain destinations. They seem in the process of conceiving and creating themselves, including improvised and unconventional support systems. An inner logic prevails, based on adhocism, contingency and joy. They make the case for living life on the edge of your seat, improvising with the materials at hand. Rather than operating from tight systems, a loose bricolage process opens up new possibilities, where forms change function through recombination. Their color, energy and eccentricity are life-affirming, sparking pleasure and liberation in the viewer.
This work is subversive in its implications, undermining any notion of approved methods and preordained results. Abrahamsson works from the expansive principles of individual initiative, imagination and self-determination.
Courtney Heather’s paintings are referenced from video stills, influenced by the allure of the familiar and the unknown. Being raised in Southern California suburbia plays a role in her works where there’s an infatuation with glamour. Similar to films, music, and literature, she creates a copy of this idealization through painting.
The idea of crowds is continued in Courtney’s current paintings influenced by her recent move to New York. Instead of the spectacle being unknown, these works focus on the significance of a rooftop setting. A seasonal transition is like a luxury where it creates an opportunity to escape the fast-paced city streets, all from a push of a button to the top floor.
The exhibition presents works that are physically small but otherwise scale-less. From formal experimentation and materials- innovation, to category- blurring, innovative hybridization and conceptual nimbleness, these works are frisky and ambitious. Compact cars can travel as far into desired districts and distant places as bulkier vehicles, with less fuel expenditure and waste. Works in this exhibition negotiate complicated relations, embody elegant conjectures, summon to consciousness buried knowledge, emblematize the unlikely -but -often -true, propose the possibility of grace and engineer non-verbal communication. Small things accurately represent us, as we are small things ourselves, engaged in large tasks.
Symmetry is a compelling restraint that helps us define the world. Frank Wilczek, in his book “A Beautiful Question”, addresses nature’s love of harmony, balance and proportion applying tancient and current scientific theories. Nature’s design relies on symmetry and economy. Change without change is a more precise way to describe symmetry.
When something is changed each part can be transformed, yet the thing as a whole is not transformed. Taking this premise and tweaking it, the work in Change without Change applies these principles both formally and intuitively. While the work presented here might not completely fit the traditional definition of symmetrical, symmetry plays a role in its’ creation.
The artists included in Change without Change use an economy of means in the production of their work generating multiple results. Each element is based on symmetry - creating physical properties that have an interchangeability in two or more directions.
The project, Velocity of Minds embraces one of the earliest techniques in motion pictures. It is a fan-blown animation installation series with a use of "flip book" techniques. Sequential, multi-layered drawings on the wall remain still or are animated by a flow of wind from the fan on the floor. Unlike complete illusion generated in digital displays, such technique has to be involved with different variables such as viewers' standpoint, speed of image transition, and perceptual rate of our retina. By responding to his daily surroundings and social phenomenon, Park made layered drawings about "too quick moments to become narrative." Despite huge interest in our changing cognition process in the time of instancy where tons of digital images and information are rapidly produced, consumed and perished every second, he chose to go opposite by experimenting with analogic and physical ways of creating moving images. In Velocity of Minds, transition of layered still images frequently fails and put itself between stillness and movement, and exactly through this imperfect illusion, Park attempts to explore his dualistic generational position between analog and digital.
“Persona: Process Portraiture” brings together four contemporary artists currently workingwith and expanding the definition of portraiture through a variety of processes. In this exhibition, the work of MarciaGoldenstein, Judith Page, Leah Schrager, and Gail Skudera originates from photographic portraits that are physi-cally manipulated or altered by combining other mediums and multiple techniques. Through this modification of found photographic images or original portraits the artist reveals new meanings and constructs new questions. The figure in each new piece is redefined and a different identity is revealed or left ambiguous, allowing the viewer freedom to compose new definitions.
A work on paper can be a drawing, print, watercolor, collage, or other work that utilizes paper as a support. Artists have used paper for the creation of artwork since its invention in China around 100 BCE. Paper has been one of the easily accessible materials for art so artists can explore their ideas more impulsively or directly on them. And contemporary artists go beyond the traditional definitions of paper media to create innovative works that combine multiple practices.
In this juried exhibitions, the artworks on or with papers selected by Muriel Guepin, the director of Muriel Guepin Gallery in NYC will be presented.
Our contemporary lives are filled with redundant technologies and consumer goods. To make sense of the technologies and objects that fill our lives, the artists in Beautiful Obsolescence reimagine consumer goods. By recontextualizing our view on these objects the artists bring a fresh eye to how these objects affect us, giving them new lives. The artists in Beautiful Obsolescence simultaneously critique and celebrate the multitude of objects we accumulate, to make sense of the stuff we collect in our lives. “May, Wortzel, and Mattingly are all storytellers”, says McDonald Crowley. “Through arranging objects, they compose narratives that help us to make sense of the technologies and belongings that we gather around us, immortalizing them as art objects and compositions: what might be considered trash becomes beauty.”
Richard Jochum: Struggle, Battle, Clash, an exhibition surveying the artist’s recent video installations and participatory projects, poses the question of struggle in a world of ubiquitous social media, overwhelming information and attention overkill. How do we best present ourselves? How do we catch each other’s attention? How do we make ourselves look good? What do we do with the awkward in us and the anger that boils up?
Sooyeon Yun is interested in human nature and visualizes it through bunny-stamps and bunny- castings. She represents countlessly repetitive bunnies in her work that rather give overwhelming impression on top of super cial and traditional image of bunny, being cute and innocent which anyone can come up with at a glance. A bunny has an aggressive and promiscuous habit in contrast to its cute and innocent appearance. In Sooyeon’s work, she has a visual challenge to give viewers insight into the inside and the outside of human beings.
Photographer and video artist Brooke White and painter Nathan Brad Hall set out to find a common thread through their respective disciplines, using the commonality of light, space and environment to build a visual and emotional bridge across their individual work. At the heart of their collaboration is the desire to invoke and capture the mysteries that light can reveal, both physical and existential, and how the interplay of encroaching and receding shadows allow these brief moments and forms to exist.
“A Thin Membrane - a pellicle”, a solo show, featuring works by Amanda Selinder who is a Brooklyn Art Cluster Residency Program Artist in 2017.
“With the point of departure in natural dyeing, I examine various types of fermentation processes, cultures of microorganism and the manner in which my body affects and participates with them, over time. What drives my work forward is a fascination and curiosity for the non-human bodies that the human bodies live in symbiosis with. How do we communicate with the creatures that form such a crucial part of us? What happens if we change our perspective into a post-humanistic point of view where the boundaries between nature/culture, mind/body, human/animal fusions together? What happens if we stop thinking the world circulates around the human species and confess the essential of other body’s existence? Read more....
Sung-Ah Jun: Fractured Whole featuring two bodies of work developed concurrently around themes of humanity, accumulation and time.
The first series of large scale works on paper and canvas chronicles humanity through the layering of images from art history and the internet. Jun’s images take the form of figures defined by a geometric framework, often drawn from Greek statuary and nineteenth century painting.
Jun’s second series consists of images of men transferred onto sheets of birch plywood. Again, larger than life, they stand regally adorned by a sculptural form that shifts between interpretive and anatomic associations.
"On The Ground" is a first annual Brooklyn Art Cluster Studio Members group exhibition featuring works by Astrid Cravens, Eric Kosse, Francis Minien, Jo-Ann Acey, Keun Young Park, Moira Pernambuco, Nathan Brad Hall, Rached Kallamni.
“Land Marks” is a compilation of mixed-media architectural representations of the lives of four female artists hailing from Brazil, Iran, Israel and Korea. Each work and artist shares a prowess for encapsulating personal narrative using fabrication and construction of architectural elements and urban structures. Their works transform the exhibition space into an archeological site, portraying each artists’ personal odyssey across place, milestone, and place of origin as women, migrants, adults, humans, and artists.
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.