Artist Pamela Casper’s Earthscapes: Emerging to a Brighter World, on view now at Reeves-Reed Arboretum in Summit, NJ, honors the power that nature has to inspire, to awe, and to overwhelm. Casper is able to capture, ”a world in a grain of sand and a heaven in a wild flower,” in the words of Romantic poet William Blake. In many ways Casper’s solo show, a mini-retrospective for the artist, brilliantly captures that wondrous sense of natural awe redolent of the Romantic movement, with a nuanced portrayal of natural phenomenon at turns imaginative and insightful. Casper’s works on view span mediums ranging from works on paper to mixed media and sculpture, offering visitors a varied means of engaging with the environment.
Works such as ”Roots and Insects,” ”Gothic Underground,” and ”Underground Glow” allow guests to burrow down into the impression the artist has created of roots expanding deep underground. Rich jewel tones and minuscule, detailed lines trace the most powerful and life-sustaining part of a tree: its root system. Casper’s paintings evoke what they don’t show, giving the impression of destiny with lush, painterly brushstrokes hinting at the rich ecosystem lying just out of view of the human eye.
In addition to the artist’s Tornado series (see cover photo) which brings to life the transformative power of nature and calls into question our tenuous relationship as stewards of the environment, the artist also works with reclaimed materials. ”Abandoned Nest” re-imagines barbed wire as a bird’s nest, painting a bleak future for a world in which scant natural materials are available for creatures to depend on. The sharp angles jutting across one another are juxtaposed with a bird’s feather: a reminder of what’s left for us to lose unless we begin reimagining ways to provide for a sustainable environmental future.
Pamela Casper’s ”Earthscapes: Emerging to a Brighter World” is on view at the Reeves-Reed Arboretum’s Wisner House in Summit, NJ, until October 31st, 2021. Check the Arboretum’s website for hours and special events before attending: https://www.reeves-reedarboretum.org/visit/ .
“You cut a hole in the building and people can look inside and see the way other people really lived… it’s making space without building it.” – Gordon Matta-Clark
Industrial materials and a delightful array of dimensions provide new angles on urbanity in “Chris Esposito:Wall Sandwich,” on view now at Amos Eno Gallery at 56 Bogart St through Sunday, July 18th.
Esposito is a Queens-based artist. A born and bred New Yorker, the artist’s familiarity with the city permeates every aspect of the exhibition. Construction is one constant traversing the city’s streets, and familiar sights such as dangling shoes and lath wood, metal and cement confront urban residents at every twist and turn of the city’s winding streets. Eroding painted signage from days gone by are visible on the sides of buildings from overpasses and aboveground subway lines throughout the city, revealing varying degrees of erasure as they play out across the skyline. Fences separating properties across the city’s five boroughs range from elaborate, pointed arches to brushed chrome. All of these experiences and more infuse “Chris Esposito: Wall Sandwich” with a potent representation of how residents and visitors interact with spaces surrounding them in urban landscapes.
Works on view present a study in contrasts, with the artist embracing industrial materials and artistic processes in equal measure, forming a strange yet powerful combination. Works included in this exhibition, such as “Split/Connect” (below image, work on right,) incorporate oil, tar and steel rods, while artistic techniques like painting, collage and assemblage are utilized throughout. Lath wood and bricks form the structure supporting the artist’s large-scale work, “Wall Sandwich,”: the exhibit’s namesake. Notions of the simulacrum pervade the show as well, with paintings of wood boards flanking actual wood structures, such as with “…Only inches away…,” and “Exterior Clapboards: Detroit”, questioning how the structures which we perceive around us in cities can both reveal and occlude vibrant histories.
In revealing the interiors of structures and their intrinsic relationship to exterior walls, Esposito notes that he, “concentrates on the interior and exterior of the walls, the space in between, the endless layers of palimpsest both polished and tarnished. It is a study of the soul of New York City.” Repeating motifs jostle for attention with surprising elements, such as a metal tag hanging off a string from the central board of “Leftovers.” City residents and guests strolling through New York will notice hanging objects proliferate throughout the city, whether it’s a hanging pair of shoes on power lines or a misplaced mitten hanging off a wrought-iron fence on a snowy day. The city gives as it takes away: construction materials throughout the exhibition also allude to real estate development and a city in constant cycles of demolishing and creating new buildings throughout the five boroughs. Visitors can approach these themes embedded within the exhibition in view of their own relationship to these different aspects of city life, finding correlations to their own journeys across, below, and around structures in New York City.
The underlying landscape that supports the city’s infrastructure takes center stage in “Chris Esposito: Wall Sandwich.” Thanks to the artist’s clever compositions and keen insights, visitors are able pore over contrasting textures and surfaces presented at a range of scales and form connections between the works on view and the city’s many tangible layers of architectural histories.
On view through July 4th at Peninsula Art Space in Red Hook, Brooklyn,TORQUE brings a heightened attention to surface detail and the painterly gesture. The show’s title notes of torque that it “is the driving force for all human movement,” and paintings on view form a dialogue around how transitions and movement are expressed in painting. Works on view are by artists Craig Taylor, Georgia Elrod, Graham Durward and Allison Evans. From the painterly figurative stylings of Graham Durward to the jagged aggregations of brushstrokes by Craig Taylor, TORQUE offers a survey of painting that intimates and suggests more than it ultimately reveals.
Durward’s compositions contrast figures against seemingly idyllic backdrops, creating ambiguous figures inhabiting unsettling scenes. Off into the distance, a rising plume of smoke draws attention away from this close cadre of figures cavorting together, inserting another narrative into the scene that feels far removed from the vacation vista presented at first glance.
The scale of works on view also makes a strong impact, with works such as Georgia Elrod’s “Midnight Oils” overwhelming the viewer and beckoning them forward seemingly into a new dimension as they enter the space. The human figure is present throughout the exhibition, but these subjects are seemingly erased from view and/or presented in fragments. Works by Allison Evans form a cheeky commentary by filtering subversive figurative elements through the lens of historical elements such as Grecian urns, painting these in flat yet expressive brushstrokes. Craig Taylor’s works indicates his deft brushwork as a painter, allowing the surface of his paintings to seemingly expand outward through implied movement away from the picture plane.
TORQUE at Peninsula Art Space is open from 12-7 pm on Saturdays and Sundays, and is located at 352 Van Brunt Street at Sullivan Street. Check out their website for more details on their exhibits: http://www.peninsulaartspace.com/ .
A feeling of lightness and buoyancy surrounds viewers upon entering “Traces,” a mixed-media installation by multidisciplinary artist Tulu Bayar on view through June 13th at Amos Eno Gallery. Over one hundred circular works composed of photographic film rolls, ink, and resin float weightlessly on the walls. These are presented in the space at varying heights as if rising and cresting, like a wave, and floating around the viewer. Dark rolls of film spiral, unravel, and protrude from the works with a deliberate sense of gesture and line, while vibrant colors swirl within the transparent resin. Citing influences such as calligraphy, Islamic manuscript painting, and ebru – the mesmerizing practice of Turkish marbling art – Tulu Bayar crafts a distinctive visual language that viewers can interpret and find meaning within.
Anchoring the space are four works which lie flat on plinths, offering the viewer the opportunity to peer down into their depths to explore Bayar’s works in more detail. Here, one can appreciate the materiality present and inherent to each unique work. Layered film rolls and multicolored inks sit on top of each other with a meditative stillness, as if frozen in time. “The gestural record on the surface stages a moment of existence that is no other moment,” remarks Bayar. “By containing that peculiar moment, I feel like I am able to memorialize the process.”
With “Traces,” Bayar deftly explores the metaphysical, the idea of oneness and the interconnected nature of beings and forms, and how individual difference resides within communal existence. This promotes an attitude of active engagement from the visitor.This lively, interactive process of “reading” reflects Bayar’s interest in the spirituality of mysticism and the teachings of Rumi. “The appearance of things changes according to emotions, and thus we see magic and beauty in them, while the magic and beauty are really in ourselves,” Bayar reflects, quoting Rumi directly. As we look into these works, we are looking into ourselves as well. As Bayar describes, this series embodies a “form of thinking and discovering a journey on a contained surface.” To embark on this journey with her, all viewers need is their imagination and a willingness to look.
A visitor can be forgiven for entering Yi Gallery’s current exhibition, “Mitosis“, and wondering whether they’ve been shrunken down into an aesthetically pleasing science lab.
All that’s missing is the petri dish.
This solo show of works by Leah Harper indicates the scope and breadth of the artist’s multi-disciplinary practice in dialogue with the lived environment, particularly with regards to marine life.
The abstracted “creatures” that the artist presents assume migratory patterns, frozen in a form of arrested motion. By foregrounding the objects themselves, one is compelled to think to a larger scale – that of the ocean itself. With light-filled sculptures installed in clusters on the floor of the gallery, minute azure-hued clusters of works arranged in meticulous sculptural groupings on one consolidated wall, and one-dimensional representations of these same minuscule “creatures” framed throughout the gallery space, guests are reminded to consider the scale of environments they encounter.
Another consideration is the fragility embodied by the range of “creatures” the artist has created for the exhibition. Whether embracing glazed porcelain, mixed media with resin or working on paper, the works Harper presents in “Mitosis” exude an element of precarity and preciousness. The flattened lines and graceful curves of Harper’s forms give visitors a tabula rasa from which to frame personal reflections on their own encounters with the ocean and its fragile ecosystems, such as coral reefs. These careful and clean linear stylings present in “Mitosis” are no accident, and their careful precision offer an homage to the delicate and overwhelming beauty found in nature’s presence.
Originally from the Gulf Coast of Florida and currently based in close proximity to the Atlantic in New York City, Harper’s work provides a delicately beautiful elegy to the oceanic environments we are ever compelled to preserve, or risk losing forever. Drawing from a rich background spanning fine art, architecture and graphic design, Harper’s perceptive work echoes Heidegger’s concept of the essence of artwork as a means of access to better explore truth and culture. “Mitosis” serves as a springboard to better frame the truth of our lived environments, our responsibilities to them and our ability to perceive the beauty of the living creatures around us in their purest form.
When the Albright-Knox Northland art museum announced their exhibition “Comunidades Visibles: The Materiality of Migration (La Materialidad de Migración)” curated by Andrea Alvarez, the premise emerged over the course of the exhibition as a clearly communicated, and community-oriented, concept. The show features works by artists Carolina Aranibar-Fernández, Esperanza Cortés, Raúl de Nieves, Patrick Martinez and Ronny Quevedo, all amassed for this exhibition, which remains on view through May 16 at the Albright-Knox Northland in Buffalo, NY. The exhibit focuses on highlighting works by First and Second-generation artists from the Latinx community based in the US, and presents materials in dialogue with lived histories and the effects of colonization. Of this tightly curated selection of artists, works forming highlights in this exhibition are installations by artist Esperanza Cortés, born in Colombia and based in New York City, which immediately catch the eye. Cortés investigates bodies and their accessories and frameworks in relation to both colonial legacies and gendered identities, and the sculptures she presents in this exhibition play with the evident and implied meanings of interiors and objects/material cultures. The compelling formal qualities present in the artist’s materials finds an echo in how the Latinx community encountering these works can respond to the installation art in visceral and personal ways.
Cortés’ work embraces an ambitious range of scales, with bejeweled chains reaching up to glorious heights while meticulously arranged glass beads adorn household furniture displayed just out of reach from museum guests. Cortés investigates how everyday objects from the home can be transformed, even transmuted, to communicate precious qualities of identity and memory. Nowhere is this embodiment of human identity indicated in the artist’s work more visibly than in her work La Cordobésa, depicted above. “As a former Afro latin dancer and teacher, I imbued La Cordobésa with body memory through the use of the embroidery from my dance ensembles,” reflects Cortés. “I then married these remnants with glass beads and glass pieces referencing the origins of European colonial interest. The upper chair given to me by the Joan Mitchell Center in New Orleans is from the 20th century, while the chair legs acquired in Utica are from the 18th century. The piece is a hybrid, a metaphor for the diversity of the people who make up the Americas.” The artist’s work demonstrates a nuanced and powerful approach to the various means of self-identifying that communities of color undergo, asserting that colonized peoples have the power to reclaim their own sense of self, their own voice and the ability to exact agency via their self-asserted identities.
Meanwhile, the artist’s grand gesture evident in her work Empire lays bare both the price, and costs, of colonization. While colonizing forces were happy to take existing wealth present in the regions they colonized, often taking these precious materials by force to remit back home to Europe, the costs of this perceived luxury had a marked toll on local communities in colonized regions of the globe, particularly the Caribbean, Central and South America. The glory of these beautiful gold chains in the artist’s sculpture undulate forth from the chandelier down to the floor below, underscoring the deep impact that this search for treasure has continued to exert on devastated communities: in the artist’s own words, “Imbued with the invaders’ narcissistic gains, the process of colonization extinguished societies, cultures, languages, species, environments and histories by way of plunder, pillage, and violence dressed as civilization.” With grand form, Cortés creates an impactful and eloquent statement in her installation works on view about the lingering legacies that have transformed these regions of the world, adopting an autobiographical lens which allows visitors new avenues for contemplation around colonization.
On view through this Sunday at Albright-Knox Northland, “Comunidades Visibles: The Materiality of Migration (La Materialidad de Migración)” is free and open to the public, and further details can be found on their website (link in exhibition title above.) Artist Esperanza Cortés is a Colombian-born contemporary multidisciplinary artist based in NYC. Cortés has exhibited in venues across the US, including Smack Mellon Gallery, Bronx Museum of Art, Queens Museum, El Museo Del Barrio, MoMA PS1 and Socrates Sculpture Park (all in NYC.) National exhibition venues include Turchin Center for The Visual Arts, Jonathan Ferrara Gallery, Corcoran Gallery of Art, Neuberger Museum of Art, and the Cleveland Art Museum.
Moving ahead as a means of re-visiting that which claims us: this process portends one potent lens through which visitors to Née, open through Sunday, May 2nd at REGULAR-NORMAL, can digest this sumptuous solo exhibit of works by Melissa Joseph.
The show, which opened to the public April 2nd at 41 Elizabeth Street in Manhattan (Fl 7), explores not only the artist’s own identity – a significant part of the exhibition’s scope – but also one’s identity within the context of a larger network, such as family. Joseph investigates, through her own relationship to her family and Indian-Irish-American identity, her childhood experiences in Pennsylvania and visits to the Jersey Shore. Mixed-media works portray approximations of accumulated memories, communicated through her intituitive understanding of the figures translated into felted wool, presented here in the show as a tableau-style homage to those who have influenced her upbringing. Through a range of mediums including sculpture, mixed media, textile, and found imagery, the artist reviews poignant moments of her own development, and her family’s past, through the veil of memory. The span of subjects represented here which form her life experience are as wide-ranging as the artist’s own explorations of materiality.
(above image: Clara Aunty at a sitar lesson (2021) needled felted wool on amate bark paper. Melissa Joseph.)
The show is not about nostalgia, remarks Joseph: rather, it is about utilizing different sleights of hand in the form of process – the hand sewing fabric, the hand connecting felt to a substrate, the hand wrapping found concrete fragments in silk – as means of linking aspects of our lives which determine who we are in relationship to our lived experience. The artist creates concrete steps toward this linkage – drawing together disparate elements in approximation to how we construct our identity through a range of relationships and experiences – within the solid forms of objects and artworks present within this exhibition. “I am still trying to understand where I came from. Most people are, but I have had some big paradigm shifts and reframes in the last 5-10 years, so looking back is never neutral,” reflects Joseph. “It’s really a way of “re-seeing” or trying to see things I might have missed more clearly.”
The artist mines a personal archive of family photo albums as a departure point for these mixed media portraits on view in the exhibit: visionary vignettes spanning a range of processes and artistic mediums. Joseph’s multi-disciplinary work often involves working with textiles. Joseph’s new floor-mounted sculptures offer a concrete departure from her work with softer materials, heralding a new embarkation in her practice and approach to art-making. Works such as “Captain Clara, Backwaters”, “Golden hour quarantine walk: Brooklyn Piers” and “Jim, Olive and Albert on Crawford St.” all offer the opportunity for the lived environment to intrude upon Joseph’s more textile-based ruminations. In these scuptural works, the artist creates with silk and wool, integrating these materials in an embrace with firm natural objects, such as rocks, found cement and clay. These objects, gathered from the artist’s experiences traversing Brooklyn, form cogent marks delineating the artist’s trajectory in physical space inasmuch as the artist traces her lineage and memories in the imagery presenting her life’s trajectory in other works on view.
Where more solid materials make their presence known, Joseph applies a softer material, such as felted wool and silk, in dialogue with these less malleable objects. This contradiction in terms of soft and hard material can represent the divergent aspects of memory and identity, particularly as relates to our closest relatives: our relationships to relatives are concrete and easily expressed through language, while remaining in some ways harder to communicate and/or express through the lens of memory. Joseph relates this concept to the idea of an “Aunty”: this formative role, present in families cross-culturally, can indicate a mother-like figure, a mentor, a tutor, or a moral guidepost. While the definitions we apply to our relationships with family members seem straightforward, in many cases it is how members of a family translate and express those roles for those individuals closest to them that adds more dimensions to these roles, and therefore, directing how we ourselves develop as a result of these meaningful relationships. Joseph is able to grasp these keen nuances by shifting between tangible, smooth surfaces and more painterly, hazy images created by working with felted wool, expressing layers of concrete relationships while also abstracting these relationships: much as we grasp a feeling aroundhow someone has impacted our lives, as opposed to tracing our genetic lineage.
The body of work on view was produced in dialogue with, and directly impacted, by the artist re-examining archives translating her family life and the memories that form the bedrock of her experiences in the wake of her father’s passing in 2015. Her work – which, she affirms, is object-based first and image-based second – takes her back to a re-examination of close personal relationships and the frameworks of family dynamics, poignantly expressed through a range of processes. Many of the artist’s works present the artist’s process of incorporating needle felted wool into her work, as she observes, “Felt allows for slippage.” Perhaps it is this practice of hovering liminal spaces between nebulous and concrete, present and past, which allow room for the artist to so forcefully communicate color, line and image, translating identity and memory in such a tactile and visceral manner.
” Née” is on view by appointment through Sunday, May 2nd at REGULAR-NORMAL in Manhattan’s Chinatown neighborhood. This exhibition is at 41 Elizabeth Street in Manhattan, Floor 7. For appointments, contact firstname.lastname@example.org .
Lines approach and recede from view in the effervescent compositions comprising Sugawara-Beda’s “I’ll Be There,” on view now through May 1, 2021, at the Thelma Sadoff Center for the Arts in Fond du Lac, WI. Tradition and expansion are present in the exhibit in equal measure, with the artist embracing traditional mounting techniques typically used to present Japanese paintings on paper on scroll format. This aspect of her exhibition, which exhibits work from her “KuroKuroShiro” series (the series title is Japanese for black-black-white,) has allowed the artist to approach new formats and avenues of collaboration. “For this exhibition, I incorporated tradition directly into my art by having my art mounted in a traditional mounting called Kakejiku,” remarks Sugawara-Beda. “This activity has become a collaboration with craftsmen and merchants and formed a new dimension in my art-making process.”
Collaborations notwithstanding, the artist’s work asserts its expansive presence through a dynamic sensibility that transcends the shades of gray it is composed of, seemingly eluding the two-dimensionality of the picture plane. Sumi ink is a medium that lends itself more readily to form broad, abstract washes, so it’s exciting to see Sugawara-Beda’s sharp use of individually distinguished lines and forms traversing the picture plane. While incorporating traditional elements, the artist’s work is anything but, sharing art historical space with the canon of Op Art and Abstract Expressionist painters as much as the traditional Japanese Sumi ink painting tradition.
Borrowing from the lexicon of seasonal paintings, which in Japan are often mounted on scrolls often related to the nation’s traditional 72 seasonsinforming the land’s literary traditions, and depicting landscape scenes relevant to each portion of the year, the artist here has provided elevated, abstracted pathways for visitors to construct their own relation to each ‘season’ on view. Whereas her KuroKuroShiro CI Sacred Lot – winter work provides the viewer with an expanse of space in which to lose their train of thought, much like a wind and snow-swept field, her work KuroKuroShiro CV Sacred Lot – summer seems to allude to the June rainy season in Japan giving way to the warm nights of summer and the kero-kero cries of frogs in the balmy air. Even visitors unfamiliar with Japanese traditions can find respite in these works, which provide a hypnotic assembly of overlapping and receding lines for viewers to ruminate over.
Meditative and idiosyncratic in equal measure, the artist’s work finds its own path to nature. The artist notes of the works mounted on Kakejiku that they allude to a higher, spiritual sense of nature and the seasons. “Even though [these works] are in a vertical format, they are still landscapes, and each generates a seasonal tone: spring, summer, autumn, and winter,” observes Sugawara-Beda in her work statement. Each work opens up a reverie for viewers to explore, with seasons mounted specific to the traditions of patterned fabrics as adopted for use in Japanese traditional painting presentation. The artist hearkens back to the highly developed appreciation for the season’s procession embedded within Japanese perspectives, while adapting a sensibility aligned with Western abstract painting traditions, giving way to a Third Space in which visitors can find their own framework for navigating the formal elements of her paintings. There is something ready waiting for everyone to find in “I’ll Be There.” Check back with the Thelma Sadoff Center for the Arts for exact directions and visiting hours.
ArtistAlex Guofeng Cao is no stranger to pop culture: in fact, he’s examined many aspects of it down to the cellular, and celluloid, level. An avid admirer of American pop culture with a precise knowledge of photography, film and digital, Cao’s visions produce fantastically detailed hybrid portraits combining celebrity headlines and art history highlights, from the 20th century and earlier, for “Pixelation” at Fremin Gallery.
Artworks with titles such as “Modigliani vs. Marilyn” give some indication as to the artist’s method and artistic process. Through careful repetition of one particular image – for example, an artistic nude of Marilyn Monroe – the artist then creates a composition of another iconic image, such as a famed Modigliani painting. Fremin Gallery explains his unique vision through their show announcement. “Cao meticulously places each smaller image to form a dynamic gradient from dark to light which tricks the eye into seeing one image. This expertise in contrast is exemplified in all of his works, from striking black and white pieces to stunning explorations in high-definition color. He cleverly mirrors this visual contrast in his subject matter by subverting the main image and creating a dialogue between the macrocosm and microcosm.”
Where Cao’s work truly shines is in the detailed attention he allows not only the formal composition of the two interrelated artworks he presents, but also the conceptual license he takes in combining the imagery present in each artwork. Often commenting on social and cultural constructs, such as beauty, sports, and celebrity culture, these works serve as a provocative jumping off point for viewers to form their own connections to these themes. Paying careful attention to celebrities dominating the period of pop culture when Pop Art, with its luminaries such as Andy Warhol and Roy Lichtenstein, both of whom Cao reference overtly, these works give deference to a period in which American culture was beginning to make its mark on the global stage. Cao’s works offer a new perspective on what it means to not only see the potential of art to digest images, but also the potential for the world to see American culture through fresh eyes – or, perhaps, a new lens.
On view at Fremin Gallery through April 10th, Pixelation is worth a visit as a potent reminder that there is definitely always more than meets the eye on view, particularly when viewing these extraordinary works. For more information, visit the gallery’s website: http://fremingallery.com/exhibitions/
On view now at The Yard: Flatiron South (234 Fifth Ave) through April 17th, Akeem Duncan’s curatorial magnum opus, “TOGETHER.”, takes center stage, featuring works byMarguerite Wibaux and Dhanashree Gadiyar. The interlocking, tightly executed hybrid of pattern and hue permeate the portraits painted by Wibaux, while Gadiyar’s works on paper astound in complexity and detail. The two artists complement one another in tone, temperament and preciousness. Whether outlining the marvels of the Aurora Borealis or probing the subtle corners of a subject’s smile, these artists focus on wonder, and the connections we seek out that make life meaningful and memorable.
Curator Akeem Duncan (Editor-in-Chief, Quiet Lunch) has come into his own intimate understanding of the space which he is curating, taking time to place paintings in contrast with specific architectural details and with the viewer’s relative position to each artwork in mind. Wibaux’s paintings in particular, with their ornate fabric pattern-inspired swaths directing the viewer’s eye across the canvas, present an interesting opportunity to contrast against white walls and brick in equal measure. Visitors to the exhibition encounter these works, imbued as they are with a playful yet precise air throughout the Yard’s space.
Wibaux’s intimate knowledge of her subject are on display in the captivating in which she paints their emotional state, ranging from anxious to assertive, self-assured to hesitant. The artist’s loose and fluid brushstrokes approximate the subject’s current state, while fabric-inspired patterning flanking each of these portrait subjects brings an alternate reading to the composition. Combined, these two elements create a striking balance in the portrait in an effect that Wibaux notes helps…” to focus on the human figure.” “Generally speaking, my art practice aims to challenge common representations, the way we look at ourselves as a society,” remarks Wibaux. “As an artist I don’t feel I can change the world, but I can help shifting representations. Getting your portrait painted in art history has mostly been a symbol of power. Through my portraits, I want to give power to our young and diverse youth, to give them a voice, to have people really SEE and LISTEN to them.”
Intimate framed paintings by Dhanashree Gadiyar are interspersed throughout the exhibition. Her works frequently depict figures immersed in resplendent landscapes, or brightly colored scenes also capturing bright and undulating patterns. Gadiyar readily reflects on the impact that pattern exerts on her work. “My love for patterning comes from my exposure to the folk art forms of India such as Madhubani, Gond and Patachitra,” explains Gadiyar. “I incorporate these traditional forms of mark-making as well as intuitive and automatic patterning. Also, as a trained embroidery artist, I tend to treat the paper like fabric, filling it in obsessively with my marks.” Also notable is the artist’s use of organic line, curve and color to create rounded and smooth compositions, seemingly expanding off into the distance of the picture plane.
The artist works with watercolor and acrylic on paper, as opposed to canvas, adding a precious quality: a feeling of delicacy. ” I love working on paper,” notes Gadiyar,” since it lets me let go off control and gives me the feeling of freedom.” This freedom is evident in the impression the artist’s works leave on the visitor, who feel emboldened to step into the composition and roam the surroundings themselves.
TOGETHER. is on view at The Yard, Flatiron South by appointment through mid-April. Please email curator Akeem Duncan to schedule a visit: email@example.com