“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.