For 14 years, odd happenings have stretched out across the 14th street corridor in Manhattan, NY. Artists, designers, dancers, performers and creators have created ephemeral experiences to engage passersby for Art in Odd Placessince 2005, when Founder/Artist Ed Woodham envisioned the festival as a means to reclaim public space by the same creative set continually forced out of New York City apartments by rising rents and luxury condos. The festival continues with its 14th iteration, BODY, from October 11-14 on 14th Street (Ave C to Hudson River) and – for the first year ever – in a gallery, at Westbeth gallery space Oct 4-27.
This year’s festival curator, Katya Grokhovsky, proudly emphasizes this additional space as necessary to give increased exposure for this year’s participating artists: artists who, for the first time in AiOP’s history, solely encompass feminist collectives, fem-identifying and non-binary artists with the theme, BODY. “AiOP BODY centers around the agency, autonomy and visibility of the female – identified and non-binary body in the public space and the urban environment,” notes Grokhovsky. “Both the exhibition and the festival include works which utilize humor, absurdity, gesture, actions, performance and various media and materials to explore the notion of the body as a site, as a particular battleground, especially poignant in our political climate.”
Participating artists in this year’s festival include Jessica Elaine Blinkhorn, LuLu LoLo, Elaine Angelopoulos, Deborah Castillo, Maryam Monalisa Gharavi, Esther Neff, Amy Finkbeiner and Christen Clifford of No Wave Performance Task Force, Nicole Goodwin, Jodie Lyn-Kee-Chow, Dakota Gearheart, and many, many more. Projects range from Jody Oberfelder’s poignant Madame Ovary, which incorporates a safe space for discussing the body as site for agency, intuition, and birth; Yali Romagoza‘s Meditating my way out of Capitalism and Communism. 12410 days of Isolation, investigating traumas, displacement and the immigrant experience.
In a time when average rents for an apartment along the Art in Odd Places festival route costs upwards of $4k/month, according to RentCafe’, the need for visible and creative public art is more dire than ever. Particularly important in a social climate denigrating and ignoring women’s voices, such as our current moment in the wake of governmental actions such as the Kavanaugh Supreme Court confirmation, AiOP 2018: BODY is here to remind us that women’s voices – and agency – always matter.
Art in Odd Places 2018: BODY public street festival takes place Oct 11-14, 2018 along 14th street from the Hudson River east to Ave C.
Art in Odd Places 2018: BODY exhibition,Unseen/Reclaimed, takes place at Westbeth Gallery from Oct 4-27, 2018. Public programs forthcoming, including a panel on the body & public art takes place on Oct 18th, 6-8 pm with closing festivities on Oct 27th. Gallery hours are from 12 pm – 6 pm, Tues-Sat.
Globetrotting, international philatropist, collector and artist Òmó Oba (HRH) Adetomiwa A. Gbadebo has demonstrated through his dedicated, multi-faceted career that he is one innovative artist. Unafraid to experiment with colors, textures and mediums while firmly rooted in a devoted spiritual core, Òmó Oba (HRH) Adetomiwa A. Gbadebo considers his artistic practice as a part of his wider mission to elevate African artists on the world stage. Òmó Oba (HRH) Adetomiwa A. Gbadebo frequently produces art exhibits and advocates for contemporary African artists in addition to his practice as an artist. Featured in solo and group exhibitions from Minnesota to Montenegro, New York City to Florence, Òmó Oba (HRH) Adetomiwa A. Gbadebo’s fearless approach to experimentation in his creative process is rooted in seeking harmony and balance and bringing the world to his culture on his own terms. We caught up with Òmó Oba (HRH) Adetomiwa A. Gbadebo in the days leading to his upcoming exhibit with Retro Africa at London’s 1:54 Art Fair, at London’s Somerset House from Oct 4-7, 2018.
ANTE.Thanks for taking time to meet with us! So far your work has been exhibited both in the US and abroad, in Italy, Nigeria, Montenegro, and soon at 1.54 in London. Can you explain how you hope different audiences perceive your work? Are there common threads across cultures that you hope your work speaks to? Is there a common universal language to your work?
OOAG.I actually don’t care about how they (others) perceive it (my work). It is none of my business how they see it, but the one thing is that they should not make up labels for it if they do not understand. They should accept their level of misunderstanding, or seek out knowledge from the artist directly, or seek out knowledge through the journey with the work or the culture from which the work stems from.
Meaning the culture of the artist, and his or her origin.
Quite honestly I don’t think I owe any other culture in the Western World any explanation of identity, or similarities.
I’m from a different realm, completely different civilization, the only thing I have in common with those outside my culture, “ Western Cultures,” is that I am a human being. Therefore it is my duty as living history of my culture and ancient history of my culture to teach others about my culture.
Accepting this difference means that one can come to a possible similarity culturally , which could help alleviate the ignorance of trying to force the notion of similarities in order to satisfy selfish desires. But if others choose to be ignorant about it (other cultures), they will fail their own cultures.
In conclusion this question does not justify my culture being significant. Therefore I say no to colonial mindsets and western perceptions of African people and its main indigenous cultures, I say no to neo-liberalism, neo-conservatism, and even socialism as a gateway to teaching my culture to those different from me. Frankly I think those concepts are poisonous to the creative world, while they also diminish the emphasis of the human being, or person.
There is no common universal language to my work. No to a common language, because my language is distinctive to my culture, and in fact an apex language that gave birth to others in terms of enriching the art and social practices of my people. There is a common sense to my work, which is the notion that what I create breeds life and sustains the spiritual creation of life. Which opens up the gateway for people to have permission to question their
previously acquired intellect.
ANTE.Your work across painting, sculpture and mixed media embraces both figurative and abstracted elements. Can you speak about your process and how these elements fit together? Do you incorporate the figurative and abstract to evoke different meaning, or are they integrally connected to communicate an overall message?
OOAG. My work is neither figurative nor abstract. It is an embodiment of spiritual knowledge and my purpose in this world. It does not succumb to categorization as figurative and abstract nor will I fit it into that institutional logic, in fact those things are limiting the honesty of the work.
These works, across all media, are a vessel: a catalyst for viewers to question everything around them, their ideologies, their manmade comfortability, and their logic around their preconceived notions. It is a very intellectual process and a very deep spiritual process, and it comes from within.
ANTE. In your practice, you incorporate Yorùbá imagery within larger, complex compositions. Can you elaborate on the relationship of these individual objects and expressions to each work as a whole? Can you explain some of the specific symbolism used throughout your work?
OOAG. In the case of my creations, not all my creations, sculptures, drawings, or paintings have Yorùbá imagery. It would be very cliche and stereotypical to assume that all my works have Yorùbá imagery simply because I am from the Yorùbá kingdom. Although I am from this ethnic group, the essence of being Yorùbá is the ability to articulate ones ideas and thoughts in multiple honed ways, to better support a diverse narrative that goes within the culture,
Hence, my art reflects diverse narratives within my life, which incorporates, timeline (simply a diary of my life;
situations of my life) my culture, Yorùbá spiritual concept, and the way humanity treats itself in the positive and the negative. My work is a gateway for individuals and collectives to question their previously and recently acquired intellect. And also a testament in holding accountable the Western lens of false narrative surrounding African cultures globally. Which pushes for the relevance to the social importance and economic significance of African culture and art.
There is specific symbolism I can explain. The dots you see in my work, relate to my love of astrology and mythology and even a love for archeology since I was young. In time as I grew and was more self aware I realized that using the dots, even creating in a none present way, was a calling back to my origins, which would be Yorùbá culture with an emphasis on its spirituality and its spiritual concept, Ifá. It was a calling to focus on balance and how to be a better human in a world created by a nonhuman entity. I also often use cowry shells, which is a representation of Yorùbá spirituality and also a form of currency, and was something that was worn by the Yorùbá elites. This symbol itself represents one of the strengths of my culture.
If my works don’t have Yorùbá symbols, it does not mean that it’s not work coming from Yorùbá culture. My very being creating the work is the symbol of the Yorùbá people, with an emphasis on its contribution to collective human existence throughout time.
ANTE. Can you explain your journey into art-making as a career? Did you begin with painting then move to sculpture, or have you always worked in an interdisciplinary style? How has your practice evolved over time?
OOAG. Yes, I can. I don’t see art-making as a career. For me, it is destiny to create art to reach a higher calling. A higher calling that is predestined for me. I don’t even call myself an artist. It’s a boxed-up, contrived notion. What I am simply doing is adding to human history with positivity. But, if you would like to know, I, without any one person’s advice decided to use my art to make money. I always choose who I work with, not the other way around. I understood business and saw how business and art come together, and so, in that way it is a career, but it is not the primary concept I live my life by. I’ve been making art since I was a child, it’s a part of who I am. I didn’t really begin anywhere, I just have made what my soul tells me to, and the only place I began was my mother’s womb with the blessing of Olodumare.
ANTE. Which artists or artistic styles have impacted your work? Are there any artists whose work you admire who are working today, or artists from the past whose work you draw inspiration from?
OOAG. Number 1, I dislike Picasso. I do not have a specific style that has influenced me nor do I adhere myself to any movement. I feel that they alter the truism and purity of one’s work, and output in various social contexts. Although one could be influenced by many things and many cultures directly and indirectly, it is important to realize that we can still choose and invite those things to influence us or not. Choice allows one to be a purist in one’s craft. As an artist, and creator of art, it is disheartening, that as a African man in a global setting, that a past context is
often placed upon my present content. For example, the notion that by being African, you are influenced by Basquiat. Without anyone asking you otherwise, people assume this influence and time is spent dispelling it and breaking down the historical timeline of contemporary art that didn’t even originate with Europeans.
I don’t draw inspiration from any particular artist but definitely from the culture of my people and human existence; the turmoil, the discord, the peace, the love within humanity. I will say this, I am not influenced by, but I respect individuals like Julian Schnabel, his stance on artistic autonomy I respect. Also Fela Anikulapo Kuti, his creation and output to reach out and commonize the situation of people globally to be made aware to progress. And, also my family, the strength of my family, the strength of my grandmother, I draw part of my inspiration from them. As well as the strength of black people everywhere. Most of all my inspiration comes from Olodumare.
ANTE. What themes and concepts are central to your practice, particularly in regard to your
OOAG. My work has no category, whether painting, installation, or drawings. To clarify: I don’t categorize my
work. It is merely a sole embodiment of my being. My history, my journeys and my origin. In terms of concepts; I ask for man to question everything, to selflessly try to produce solutions to sustain betterment other than for himself or herself. I have a conceptually strong focus on spirituality and how it’s significant for the development of our planet. And not spiritually in the Western fetishized sense where it’s more so about self indulgence and narcissism instead of selflessness and the reverence to its origins.I also the focus on the concept of iṣẹ, meaning work in Yorùbá language. iṣẹ (work) is very important to the Yorùbá people. The concept of work that is beyond the concept of work , if you get my point. Work is beyond it’s definition in Yorùbá language- its expansive to philosophy, the way you live your life. It’s expansive to how you sacrifice for your family, how you lead your people as a royal. It’s expansive to create a circle of balance.
ANTE. Supporting cultural, artistic and human rights are also important endeavors for you.
Can you share some of the initiatives, both in your home base of Minneapolis and
elsewhere, that you support that are important for you personally?
OOAG. Minneapolis is not my home base. Nigeria is my home base. My country is my home base. The United States is part of my journey in my life.
I would tell you about my endeavors for the future and now. My endeavor for the present is to create paths for artistic philanthropy and build cultural bridges between the United States and Africa alongside the global art world and build infrastructure in my country (Nigeria) for people in need of infrastructural presence. For example, affordable homes for people in my country who are in need of homes or have been displaced and the push for cultural re-education to understand what it means to be African for the purpose of self-sustainability.
Part of what my philanthropy focuses on is African art, with special attention to traditional and contemporary Nigerian Art. I advocate for the preservation of African culture, specifically that of Nigerian cultures, even more specifically Yoruba culture. I support African artists economically and in a way that they are seen and respected as much as their Western counterparts. Not to say we need to prove ourselves, it’s more about educating the West to how we are relevant due to our own cultural experiences and adaptations. I collaborate with other like-minded peers who want to see the sustainable growth of Africa. This is necessary in keeping with the integrity of my vision and principles for how African art and culture is valued not only in the art world but beyond, and how it can teach and influence others beyond its cultural boundaries.
I am interested in expanding touristic outreach in the arts and cultural sectors by building a museum and galleries in my country. Focusing my energy throughout the educational, cultural, and economic sectors, all of this will be done within my philanthropic practice in collaboration with other African philanthropists and visionaries.
In terms of human rights, I advocate for cultural rights, specifically those of indigenous cultures to practice their cultures freely without Western intervention.
The weekend of September 29-30 marks the final days of Theater of the Mundane : a site-specific multi-media installation by Katya Grokhovsky presented at chashama space to present, 273 Bleecker Street in Manhattan. Known for her evocative installation, performance and video works, Grokhovsky collapses her kaleidoscopic practice into this survey of her work, exploring the absurdity of the human condition through sculpture, assemblage, collage, video and
Examining society’s brutally intoxicating consumerism and insatiable desire for material goods, Grokhovsky examines the broken dreams and isolation that these objects sustain. Echoing rampant consumerism itself, and the posession of myriad discarded objects, Theater of the Mundane deconstructs and devours the artist’s own past artworks and highlights the eternal human longing for connection. Hosted by chashama at the cavernous 273 Bleecker street space, Theater of the Mundaneoffers an immersive experience traversing sculpture, performance and new media.
The exhibit is on view from Sept 14th-30th, Tue-Sun from 12-6pm with a closing reception: Sunday 30th September 2018, 6-9 pm and is free and open to the public.
Sunday, September 30th marks a one year celebration of groundbreaking performance art at The Ear (255 Boerum Street #1, Brooklyn.) A yEAR at the EAR features performances by artists Raki Malhotra, Thea Little, Polina Riabova and Esther Neff alongside installation, art and videos by Mariya Dimov, Sandra Kelly, Jazz Coker, Diane Dwyer and Jenna Kline. Doors open at 5 pm, with performances from 6:30-8:30 and a VJ set by Kira DeCoudres following at 9 pm. The one-year anniversary fun fest ranges from $5-20/ticket suggested donation. Zines will also be available for sale, including PLASTER COCKTAIL, Marietta Magazine and zines by gothlime. The Ear is a DIY community art gallery and performance venue geared towards creating a neutral space for women and non-binary artists with a focus on showcasing new and experimental work, and this event promises to be one of the most compelling held at the space in its one year of programming!
Raki Malhotra is an interdisciplinary artist from Toronto currently living in Brooklyn whose work relates to self-psychology, pop culture, and issues of identity. Artist Thea Little investigates the hybrid of performance art, dance-theater and experimental vocals through creating and performing solos and directing group works. Polina Riabova is a Brooklyn-based poet, writer and performance artist originally from Kupavna, Russia. She curates The Blue Rose series and is Editor-In-Chief of PLASTER COCKTAIL zine. Esther Neff is the founder of PPL (Panoply Performance Laboratory), a flexible collective, organizational entity, and experimental philosophy research group. One year ago, in August 2017, The Ear hosted the soft-launch of PLASTER COCKTAIL zine with an event that was curated by Polina Riabova and featured the striking work of recent Franklin Furnace honoree Nicole Goodwin: Ain’t I a Woman. Thea Little & Oya Damla also participated at this event, which also included readings by Deirdre Coyle, Stephanie Maida and Polina Riabova, video & installation by Kelsey S. Brewer and sculpture & installation by Mariya Dimov.
The Blue Rose series takes place at the EAR periodically, which strives to bring artists of diverse art practices together with the added focus of introducing new audiences to performance art by mixing together performance, readings and multimedia art. In July of this year The Blue Rose Presented Detox, which was the fifth official installment of the series. Founded by Oya Damla in 2017, The EAR has become a pivotal space for creatives to gather and perform in an intimate, comfortable venue with backyard and cash/Venmo bar. Since its inception it has hosted 7 performances, and has grown to be known as a staple for sound, performance & interdisciplinary arts in Bushwick. This one-year anniversary of The EAR is also notable as it takes place during Bushwick Open Studios! Don’t miss your chance to experience the best of what the EAR has to offer on Sunday, Sept 30 from 5-10 pm.
In a special first anniversary, two-part event, Jeffrey Thomas & Jordan Sinclair’s re:nüjübilæum presents a meticulously curated set of live music, art, fashion and DJs. Featured by world-renowned artists Julia Sinelnikova, Julio Cesar Williams, and Nikki Shapiro along with a live sound installation by GIA b2b VVEISS and fashion by ËNKÖGNÏT, re:nü jübilæum vol. 1 takes place from 6-10 pm at Refuge Arts, 80 Vernon Ave.
Sinelnikova, a renowned interdisciplinary artist, has been featured in the New York Times, Wall Street Journal, and many more. She has also designed installation artworks and set pieces for Juliana Huxtable and Machinedrum, among others. Williams explores image making on the internet, his works cleverly evolving through different visual media, while Shapiro’s abstracted figures examine the timeless presence of the human figure.
re:nü jübilæum vol. 2, taking place at Ceremony224 (224 Manhattan Ave) from 10 pm to 4 am features Bergsonist (bizaarbazaar), Becka Diamond (Hospital Productions), and Confines DJ’ing while live music will be on offer from Lunacy and L’Avenir. Bergsonist samples the expanded field, integrating the distilled essence of fleeting moments into their sets. Diamond, a NYC DJ and label manager at Hospital Productions, crafts unexpected dance landscapes, and has performed at Berghain, Warsaw, Output, and more. The deep electronic cuts of Lunacy and L’Avenir’s minimal wave will be there to shake you til the morning light.
Tickets are available for vol. 1 ($10 suggested donation) and vol. 2 ($10 adv / $15 door), with a special VIP Package available for $25 while availability lasts at the door at Refuge Arts. Don’t wait as tickets for this one of a kind nü year annivesary party won’t last!
Reality, augmented or otherwise, is delightfully stranger than fiction at 01: Never Mind the Bullocks, curated by LatchKey Gallery‘s Founders, Natalie Kates and Amanda Uribe, at Chashama’s One Brooklyn Bridge location. On view through Oct 21st, the exhibit features four contemporary artists working on the boundaries of modern perspectives. Darryl Westly,Inna Babaeva, Steven Fragale and Toby Barnes all create works for the exhibition that obscure and/or redefine reality. From examining absence in figuration to producing new dimensions of representation, the artists on view take expectation and turn it squarely on its head. At first glimpse the four artists seem decidedly divorced from one another’s practice, until further examination reveals that each artist re-examines objects and scenes that the viewer takes for granted, re-contextualizing the known and burying it deep into the crevices of the unknown until it springs anew, a hybrid and resplendent thing.
Darry Westly, born in Chicago and currently based in New York City, is a renowned international painter who creates illusions of flattened planes in otherwise realistic scenes. Frequently alluding to classical art history references, Westly’s unique blend of Pop Art and figuration herald a new manner of representing in the post-photo manipulation era. Soft pastel hues cradle the outlines of missing figures, collapsed planes of a hybrid reality. Westly’s masterful brushstrokes press against the glass of reality, turning perception around on an unsuspecting viewer. His work disorients as it transcends.
Steven Fragale‘s interactive paintings delight and confound, taking the viewer off the canvas and literally into thin air. Fragale, who lives and works in (and is originally from) New York, takes his work out to the viewer in a custom-built app that accompanies each of his paintings. Extending the composition out into new dimensions using augmented reality, Fragale leaves no stone unturned: examining our reliance on the digital and its intrusion into everyday lived experience.
Toby Barnes is an interdisciplinary artist whose installation and mixed media work collapses what Hito Stereyl aptly termed the “poor” image makes a frequent appearance in the patterns of Barnes’ works, writhing these mobile phone images into dizzying, hypnotic compositions. Born in Miami, and living and working in Amherst, Mass, Barnes has exhibited in an exciting array of venues including PS1, Queens Museum, and NADA among others. Barnes creates symmetric compositions, delineating the lines and populating each section with glimpses of skin, abstracted figure. Abstract and figurative meld into one another, proving impossibly inextricable in the final image. Barnes’ installations and two-dimensional, mixed media works combine the immediacy of Pop with a considered, measured investigation into a thoroughly contemporary view of the image as raw material.
Perhaps most surprising is the inventive work of artist Inna Babaeva, a Ukrainian-American artist based in Long Island City, Queens. Reformatting everyday objects into magnificently mischievous items. Bulbous forms formed in glass break the lines of rows of October magazines and perch saucily on wheels close to the ground. They lie luxuriantly on stacks of paper, sneaking glimpses at passersby from corners of the exhibit. Never has glass possessed such a gestural, anthropomorphic quality. Babaeva’s works re-animate post-industrial materials into new figments of the visitor’s imagination.
01: Never Mind the Bullocks is a fearless investigation into what contemporary art can evolve into, and how it can grow into new forms of inquisition and self-reflexivity. The exhibit is on view at One Brooklyn Bridge (360 Furman Street, Brooklyn) through October 21st, curated by LatchKey Gallery & location courtesy Chashama.
International Fine Arts Consortium, or IFAC, is celebrating a full five years of experimental and boundary-pushing arts at The Yard (85 Delancey Street, New York, NY) with The Fourth Stage: Abstract Theory and the Silver Lining of Allegorical Necessity. This group show of artists explores abstraction from a myriad of contemporary perspectives. The exhibit is curated by Eric Friedmann, Sozita Goudouna, and Lee Wells, and artists on view include Eugenia Apostolou, Martin Durazo, Maria Fragoudaki, Eric Friedmann, Yioula Hadjigeorgiou, Sofia Housou, Dana James, Kathryn Karwat, Douglas Ward Kelley, Peggy Kliafa, Christine de Lignieres, Bernd Naber, Lindsey Nobel, Leoandros Pigades, Lina Pigadioti, Mahy Polymeropoulos, João Salema, Ashley Taraban, Li Trincere, Johan Wahlstrom, Agni Zotis.
Gravitating toward Baudrillard’s infamous statement that, “today, reality is itself hyperrealistic,” the exhibit leads into a dissection of the concept of Supermodernity. Constructs such as “location,” “subject” and “meaning” are explored through various artists who explore line and form absent of figuration. The exhibit also takes a conceptual glance at the lines between reality in the direction of so-called “fake news” by questioning where truth influenced art-making, if it ever did. Curator Lee Wells notes, “An art evolved from various forms of perceived purity and truth, aesthetically beautiful but not politically correct. An art which leaves the real world behind for many good reasons, for the things in common rarely outweigh the differences. All of this in turn offers us the liberty to reassert meaning in the fourth stage.”
The curators offer their special thanks to The Yard and Art Program Director Michaeline Sanders. A reception will be held at The Yard Lower East Side (85 Delancey) on Monday, September 17th from 6-8 PM
Viewing Hours: 10:30-5:30 Monday through Friday and by appointment.
Artist Marion Grant is a lifelong creative innovator, with a career spanning fine arts, graphic art and textile design. Her work strongly aligns itself with spiritual growth, and her strong use of color and lyrical compositions follow the precedent of other spiritual artists such as Wassily Kandinsky and Anselm Kiefer. For Grant, however, spiritual development and transcendence serve as key attributes in her art-making. Her focus as a fine artist distinctly embraces self-empowerment. Combining a decades-long artistic practice keenly melding color field theory and harmoniously blending distinct visual elements, Grant’s work continues to speak on a personal level to her collectors, peers and all who encounter her works.
ANTE. You work in a very multi-disciplinary style, from digital art to fabric to mixed media. What originally encouraged you to develop your talents as an artist across different mediums? How has your practice evolved?
MG. I feel like all my life experiences coalesce into how I approach art-making. After studying Fine Arts at the California College of the Arts in Oakland, I got my dream job working for the artist Frances Butler who was a huge idol of mine. Working with her, I was responsible for silk-screening fine art textiles. Butler was truly an influential artist for me.
Eventually I returned to New York to pursue a career in the textile industry which was headquartered there. I attended classes at Parsons to learn some specific skills for the industry, eventually going on to work professionally in the textile industry for the following twenty years.
While I worked in the textile industry full time, I continued developing my career as a fine artist. During this time I was creating large scale multi-media paintings which involved silk-screening, chemical patinas, assemblage and painting. I sold artwork to corporations such as Pfizer and Signet Bank. And I was also silk-screening on fabric, making award-winning, one-of-a-kind tableware.
I see my process evolving, with every stage leading forward to something new. In this way, my process acts like an open continuum. I don’t see myself as the type of artist who works exclusively in one medium: in fact, after working in the textile industry I transitioned to work as a graphic designer using contemporary technologies to create digital designs for marketing materials in the dance world. Through this evolution, I realized I’m the kind of artist who likes to explore and discover new things. I like applying an interdisciplinary approach to art-making, uniting the corporeal, metaphysical and psychological. I tend to experiment with unique elements and alternative processes, particularly if it’s something that hasn’t been done before. Once I innovate, I’m then ready to go on and explore what’s waiting to be uncovered. I just don’t like to repeat things because my impetus is to explore the unknown. My work exists at the boundaries of past tradition and new technology.
ANTE. Your work draws from a deep, richly nuanced understanding of color combinations and color theory. How do you balance colors in your work? How do you see color as a key factor in how your artwork is experienced?
MG. When I attended art school, color theory was rooted in a scientific approach. I recall choosing not to enroll in color theory classes because my approach to color is purely intuitive. I studied enough to understand complementary colors and the color wheel, and from there I was able to instinctively grasp color combinations.
After working in the fine arts industry, I transitioned to become a designer in the garment industry. There I developed my skill set and realized I excelled at selecting colors for fabrics. Eventually I transitioned to working in home furnishings as a colorist. I was in charge of painting several different color combinations in gouache paint to define different fabric “looks”, then going to the textile mills to oversee the printing of the selected color combinations. This was a very specific job which required a keen understanding in learning how to balance color. The colors that live with you in your home set a mood and reflect your taste, making color a key element affecting sales in this field.
Great color combinations speak to people. They want to live with furnishings because the colors they’ve selected make them feel good and reflect their personality. I feel like color is experienced on a visceral level and can evoke certain emotions. I wonder in some sense if color evokes emotions similar to how music does, maybe on a subconscious level? It’s my hope that throughout my career in home furnishings that I helped set a tone of comfort and joy in a home.
Through my spiritual development, I have learned how colors have profound spiritual implications and can greatly effect our vibrations and how others perceive us. Each chakra is represented by a color, and it’s helpful to have some understanding of energies and the colors representing them. For example, blue indigo is affiliated with an increase in peace, tranquility, and devotion. It is symbolic of the inner mind, intuition and the vast cosmic consciousness. It is also the color of the third eye chakra. To increase clarity of thought and intuition, it helps to meditate with indigo. Interestingly enough, I see my artwork innately incorporates some of these color meanings. One example is my fine art print “Primordial Space”, which is about meditating in a vast cosmic consciousness – an investigation of both inner and outer space.
ANTE. Can you walk us through how you approached your acrylic “skins” series found on your website under “Alternative Media”? When did this process enter your artistic practice, and how is it evolving over time?
MG.I began work on the acrylic skin series about six years ago. When I left the textile industry, I returned to Parsons in 1999 to take classes in new computer programs specific to design in order to build a wider skill set. Through these experiences, I began making art on the computer. My style of digital art involved combining portions of my previous artistic processes. This included painting, silk-screening and various chemical processes and patinas. After working and developing my digital art, I wanted to switch gears and to experience working with my hands again. I wanted more than just a flat surface in my artwork.
Around six years ago when this series began, I discovered two things simultaneously: first, was the book Digital Art Studio which was published in 2004 outlining how three artists combined digital art with traditional art materials. Secondly, I encountered the work of Catherine Steinmann on view at the Tibet House in New York. I saw her show “Vanishing Tibet” with artist Danny Conant. They were combining digital and traditional processes in photography to create mixed media artworks. I was very inspired when I encountered these works, which were printed on traditional handcrafted paper. I was so excited because I realized this was exactly what I wanted to do, and the spirituality present in the work also spoke to me.
I subsequently discovered Mary Taylor’s work. Taylor was an assistant to a co-author of Digital Art Studio. I took Taylor’s class on working with digital and traditional materials and this launched me into experimenting with digital art and combining it with analog processes. This mainly resulted in using acrylic materials as I don’t like to use anything with chemicals or solvents if it can be avoided. I also happened to meet Catherine Steinmann in this class. We struck up a friendship, and I’m happy to have a peer to share this experimental approach to unusual processes and techniques with.
I started to develop my own process as a combination of digital art and handmade surface details. The process is labor-intensive, and many things can go wrong along the way, but it is exciting in its unpredictability. As a result, this process is continually changing and evolving. Putting the handmade surfaces through a printer is intimidating, as the sticky quality of the acrylic surface can ruin the extremely expensive printer I have to use in this process. These skins also possess a raw quality that in a sense makes them feel alive. They don’t have a stiffness to them, or feel overly polished: instead, they feel organic. This process is aided by layering iridescent paints and hand-embellishments with digital designs in between the different layers.
ANTE. Admirers of your work often appreciate its spiritual and soothing effect. What subject matter and concepts are you investigating in your work? Is it meant to be spiritual, and if so, how do you see this affecting your audience?
MG.My art is intrinsically connected to my spiritual identity. I’ve devoted my life to spirituality, creativity and transformation. Making art is my life’s purpose and serves as a visual meditation for me. I mindfully strive to create works that are uplifting, transformative and healing for the viewer. My work introduces harmony and a sense of compassion to a wider audience, and my artistic practice reflects my spiritual development and vice versa.
I’ve been drawn to and inspired by Buddhist and Hindu imagery because it is so beautiful and soothing. That has been a big source of inspiration, especially for the prints on display in the “Fine Art Prints” Section of my website. I have met those who encountered statues of the Buddha, or viewed representations of supernatural deities, who reported feeling a strong, energetic presence. Through the years many people have recounted these transcendental experiences to me. I’ve been lucky enough to be a part of this phenomenon: once, I met a viewer of my work who described a powerful experience they had while viewing my fine art print at a Buddhist retreat. I felt overjoyed and humbled to be a part of this transformation in some small way.
The series I’m currently working on is centered around the dragonfly, which serves as my spirit guide. I serendipitously discovered a dragonfly on the door outside of my building in Manhattan in May. This was a very unusual circumstance as Spring is not dragonfly season, and dragonflies are also not commonly found in urban spaces. The dragonfly is revered as a symbol for transformation and empowerment. It embodies creativity and light: reflecting the sun and bringing us out of illusion. Dragonflies encourage us to apply creativity and imagination to transform our lives and discover ourselves in new ways. The dragonfly appeared at a significant time in my life, and I appreciate its meaning and message for me. I hope that others can connect to uplifting messages that the dragonfly brings as well.
While I don’t feel that people have to connect spiritually to my work, I do hope that my work positively impacts the viewer regardless of their own philosophy. I hope it enriches and uplifts others in their life’s journey.
ANTE. You often incorporate nature and fabric patterns into your work. Do you see these motifs as contrasting or complementing one another? How do you create an interaction between the two throughout your practice?
MG. Contrast is a key element in my work. As long as I can remember, I’ve always combined geometric patterns with organic ones. This balance of subject matter persists throughout my practice, from painting to collage and throughout my digital work. I see both contrasting and complementary elements at play in my compositions. For example, in my work “Blue Dragonfly“ the architectural draftsmanship in the background of the work juxtaposes with the delicate anatomy of a dragonfly’s wing.
In the series Illuminated Miniatures on my website, the contrast lies between the organic, hand-painted watercolors and the textile patterns which are then overlaid in Photoshop. That series elicits a sense of being worn away: of layers being pulled apart and deteriorating as these contrasting elements are combined. In some of my works, iridescent paints between each layer unites the different overlapping layers of natural and man-made patterns. I often incorporate minimal elements, such as flat gray lines, that then create a sense of geometric contrast with the organic elements in the composition. Dorothy Krause, co-author of Digital Art Studio, unwittingly described my work when she wrote that the best digital art “combines the humblest of materials… with the latest in technology to evoke the past and herald the future.” It is this union of opposites, ranging from old to new, from geometric to organic, that creates transformation.
ANTE. You often layer objects and concepts in your work, both physically and metaphorically. What importance do you ascribe to layering in your practice as a whole? Do you see this as crucial to your creative process, why or why not?
MG. Layering is the most crucial element in my artistic practice. It acts as a key factor in my artistic expression, whether using computer programs to make artwork or creating work traditionally by hand. Layering allows me to combine different elements which may otherwise be disjointed, but when separated and re-arranged, allow a sense of complexity and depth. When finished hopefully this combination of imagery coalesces into a harmonious whole giving the work a new meaning. This is the essence of my work.
It’s exciting to work in layers because you can’t really plan it. As a result, you’re never really sure what the end result will be. This method is perfect as it helps me discover new aspects of my process. I might plan a concept in advance, but then let the layering process lead me, allowing it to take over and guide me to unexpected results.
I am now seeing a similar pattern in my spiritual development, made evident by peeling away layers of personal development to reveal more truths underneath. Only after one layer is peeled away can the next layer underneath be worked on. It cannot be rushed. I never thought about this before, but I think it’s interesting to see how this compares to my process of making artwork.
The word “palimpsest” has been used to describe my practice, alluding to my practice of scraping and masking certain elements in an artwork in order to reveal others. By revealing traces of what is left behind, my work shows a worn quality, evoking a sense of history and alluding to mysteries of the past.
ANTE. What new challenges are you looking forward to in your work? What new mediums are you anticipating working with and how would you like your practice to develop in new ways?
MG. Currently I have acrylic skins that I’ve made in a larger format than I’ve previously worked with. I want to print images onto them but I haven’t tried it yet. Printing onto large acrylic skins is challenging on my printer and can be risky. This is one reason why I’ve been working in a smaller scale until this point, but now I want to take on the challenge in this next phase of figuring out how to scale up.
My work has also been developing toward working with multi-dimensional surfaces. I like the extra dimension as it brings out the reflective quality of the paints I use. As well as utilizing transparent and translucent surfaces, multiple layers in a work results in the image changing depending on how light hits the surface. This imbues the work with a sense of movement and helps to keep it from feeling static. It takes thought and experimentation to recognize how to best display my artwork, particularly when it comes to framing. The process is very different with each artwork. It can take time to find the best position and angle for artworks to hang onto the wall in order to truly capture the depth and shadows present in an artwork. It’s not the same as working with an opaque or rigid surface, because each work requires a different approach in order to enhance the work.
With my artwork, the types of energy incorporated into each layer can change as the artwork builds. More layers mean a combination of energies can be present in each work, adding a feeling of depth and complexity. This can almost be considered a type of alchemy in which an artwork transforms as layers are added. My hope is that this will lead me to explore new aspects of my practice I haven’t considered yet.
Artist Elizabeth Velazquez creates abstracted portals into alternate dimensions, where visitors are invited to delve into both site-specific installations and the farther reaches of their subconscious. Drawing from ritualistic and primal imagery and constructing highly technical, immersive environments for participants, Velazquez creates pathways to new planes of experiential art. With an Master’s in Painting and background in Arts Education, Velazquez is an interdisciplinary artist and arts educator, and part of both the Southeast Queens Art Alliance (SEQAA) and New York Collective of Radical Educators (NYCORE). Her installation, Fallacy of Edifice: Cohabitation (AlterWork Studios)opens Friday, August 10 at AlterWork Studios, 30-09 35th Ave, Long Island City, NY 11106.
We sat down with Velazquez to learn more about her multi-faceted approach to arts-making, and more specifically about Fallacy of Edifice – on view through August 25th.
ANTE. – Fallacy of Edifice: Cohabitation (AlterWork Studios) is a site-responsive art installation interrogating the neutrality of built space. Can you explain how aspects of the installation’s formal qualities – line, material, placement – combine to create an abstracted composition that reflects on themes of the built environment?
EV – Materials I use for this work include paper, wood, fabric, recycled luggage, plastic, charcoal, graphite, acrylic, and powdered pigments. Taking apart discarded luggage is a great exercise in revealing the farce that capitalism is, as it’s fueled by consumption. My use of synthetic material is an expression of melancholic foraging in an increasingly synthetic world. I don’t see built spaces as neutral. A human built environment has intentions and motivations set by people and they are not necessarily in the best interest of those it is being made for and not made for regardless of whether or not it is explicit in their thinking.
After several years of apartment living, I became hyper aware of straight edges in my environment and my disconnectedness to the ground. In this work, I utilize the structure of a space and build layers of fragmented pieces onto the walls and parts of the ceiling in order to change it. The grid shows up in my work- it’s inescapable and the framework for the layout of NYC. I see the grid as comparable to the dangerous song of the sirens in the Odyssey by Homer. My reaction to the grid makes me imagine the biblical story in which Jesus gets angry in the temple because people have turned it into a marketplace. In my work the grid is fragmented and purposely made with crooked, intersecting lines in an attempt to break the grid.
ANTE. –What about AlterWork studios specifically lent itself to function as a fitting environment for this installation? What compelled you to create within this space?
EV –It has been difficult for me to find spaces to exhibit this piece in. I had been thinking about the work for a few years and finally got the opportunity to complete it when I received a 2018 New Work Grant from QAF. The founder of AlterWork Studios, Tina Stipanovic, offered her space for my installation and was so open-minded about my idea- I felt unrestricted and supported. I thought about how my installation would respond to this space and felt the piece needed to confront its destructive tendency when placed within an environment centered on communal values, which in turn led me to think of how it would address other spaces, such as a large wall space within the Queens Museum. It also spurs thinking about the exteriors of buildings.
ANTE. – You specify that this is the second version of Fallacy of Edifice.Can you elaborate on the first iteration, and how these two disparate yet unified installations are related?
EV – The first iteration of Fallacy of Edifice was at an old cigar factory in LIC, Queens. Many spoke of this factory as the epitome of gentrification. This building is now a creative workspace and is not open to the public. The exhibition was a way to attract attention to the building and its use, and at the same time, it provided a space where artists across NYC could show their work for a brief time. I felt this building was an adequate space for Fallacy of Edifice because of its history and its interconnectedness with world history: a history of greed, genocide, stolen people, and stolen land. There is a phantom that lingers in all edifice connected to this history and it is this phantom that my work confronts. My mom used to say, “un ojo cerrado y el otro abierto,” (keep one eye closed and the other wide open)- this saying is one of the earliest lessons I learned.
This second iteration is located in an old industrial area adjacent to another area once known as Dutch Kills, which references the streams that used to flow into nearby Newtown Creek – one of the most polluted waters around NYC. The land that AlterWork Studios is built upon drew my attention, so I walked around the area to find something I could bring inside the building to become part of the installation. The building itself is an old structure built in 1910, and although the space currently provides a communal space that is much needed, its walls still hold a history deeply rooted in settler colonialism. With this history in mind, the second iteration deals with understanding the possibility for creating positive change within these structures: hence the reference made to cohabitation. It makes me begin to think more about the ideas mentioned in adrienne maree brown’s book, Emergent Strategy, where she states “what we practice at the small scale sets the patterns for the whole system.”
ANTE. – In your artist statement you note that your practice references the impulse to destroy. Can you relate this installation to the impulse of destruction, and can you elaborate on whether you seek to create, in the wake of this destruction, new means of understanding the roles our environments play through drawing attention to them through site-specificity?
EV – My process is destructive. I create pieces and then tear them apart to then put them back together again. I crush pigments, reuse lumber, harvest recycled materials, and reconfigure fragments of pieces I have sewn from fabric, paper and plastic. Chaos happens. The spaces we inhabit affect us psychologically and also reveal things good and bad about our humanity. I want to draw attention to these things with this installation and reawaken an understanding of something we have become disconnected from.
ANTE. – Many times you incorporate the color black into your installations and interdisciplinary artworks. Why does black hold such significance for you? Do you think the effects of black are psychological? Emotional? Both?
EV – First, I acknowledge that black has many associations. Black is the color of of charred wood and natural substances of the earth like charcoal. It is also the color of the celestial. Ancient Andean people looked to the spaces between the stars. Black is sacred, infinite and primordial. It does have psychological effects as in the use of Rorschach paintings. In my observations, black extracts embedded thoughts and experiences deep within the mind. It is also symbolic of death, and for me, this is where I focus much of my thinking- on the spirit realm.
ANTE. – The human figure is often implicated in your work, either through its presence (such as with your performances) or its absence leaving a space de-activated until someone is present. How do you approach site-specific installations with consideration for the person/people circulating through the space?
EV – I make my installations larger than life size. I want the body to seem small. Pieces usually jut out from the installations I create in order to subtly reach into a viewer’s personal space. The current installation creeps upwards into a corner and forces visitors to look up – a direction often ignored by many people of our digital age. The piece also creeps down into the window as a way to gain the attention of passersby. I also extended the piece outside using charcoal lines on the sidewalk, again as a way to get peoples’ attention as well as it being a compositional element.
ANTE. – Your work has often incorporated ritual and ritualistic elements, can you elaborate on where these elements are present within Fallacy of Edifice: Cohabitation (AlterWork Studios)?
EV – The ritualistic elements within Fallacy of Edifice: Cohabitation (AlterWork Studios) are in the gathering of materials, preparation of the pigments, and the construction of each piece. My process involves repetitive, and sometimes intricate movements, like crushing charcoal with a rock or hammer before mixing it with acrylic medium. I often work on the floor or on top of the table and use my entire body at times in the creation process. One of the things I must do each day is look up at the sky, whether it’s from my window or from outside standing on the ground. The rituals I preform daily in my life are not separate from my work as an artist and they continue on in the things I create.
Pivotal artists getting their due as creative geniuses who just happen to be women? Sign me up! Women take center stage as formidable contemporary tour-de-forces in the exhibit Temporal Escape, curated by Jenny Mushkin Goldman and Megan Green. Temporal Escape, which opens this Thursday, Aug. 9 at 6:30 pm at 326 Gallery (327 Seventh Ave, NYC), features a range of works by contemporary artists including Chellis Baird, Hannah Rose Dumes, Victoria Manganiello, Beatrice Modisett, Livia Mourao, Alexandra Seiler, Barbara Sinclair, Yana Ushakova, and Mie Yim. This survey of artists whose work (alternately acutely and obliquely) references strength in embracing feminine aspects inlaid in their practice that former generations of women artists were not always able to explore. This exhibit juxtaposes artists whose style in some ways overlaps while in other cases remain definitively separate in form and concept.
From the recent Brooklyn Museum exhibitions on women of color (Black Radical Women; Radical Women, Latin American Art) to the sweeping Denver Art Museum show Women of Abstract Expressionism, the current focus on rehabilitating the reputation of past generations of formative working artists – who happened to be women, and received exclusion from art history books for this fact – is empowering. Temporal Escape is the opportunity to continue this trend into our current moment: our temporal experience. By placing the emphasis on elevating women artists working today in multiple genres, this survey allows access to strong emerging contemporary voices in the arts. From Baird’s evocative woven paintings to Manganiello’s abstract woven artworks, weaving and fabric arts are masterfully represented in Temporal Escape. Ushakova and Dumes, meanwhile, apply a cheeky mixture of allusions to the female body mixed with abstraction. This insightful mixture of forms and compositions is present throughout the exhibit, with textures and colors combining in surprising and clever juxtapositions.
Sensation and emotion vibrate from the canvas in works by Yim and Mourao, whose abstractions take on a living pulse. Sinuous curves seem to permeate the air around the picture plane, particular throughout Yim’s masterful color combinations. Seiler’s deft attention to color also emerges in works present in the exhibition, while Modisett’s more muted tones create a moody, introspective escape. Finally, Sinclair’s undeniably energetic combinations of line, text and color resonate with vibrancy. From Pop Art to collage to abstraction, there is something for every art lover at Temporal Escape.
Temporal Escape opens Thursday, August 9 from 6:30-8:30 pm at 326 Gallery (326 Seventh Avenue) in Manhattan. The exhibition is on view through Sept 13, 2018, don’t miss your chance to view these pivotal artists’ work in conversation!