Artworks on view in the deceptively subtle exhibition “Unseen” bring that which is frequently overlooked directly into the public eye. In a world in which most of what directs our behavior goes unnoticed, “Unseen” marks the clever, perceptive type of exhibit that we crave to focus our attention on. Curated by the MFA Boston’s Akili Tommasino for Collar Works, artists on view include Carris Adams, Tania Alvarez, Aurora Andrews, Jose- Aurelio Baez, Raina Briggs, Ryan Chase Clow, Matt Crane, Richard Deon, Carla Dortic, Deborah Druick, Mark Eisendrath, Rebecca Flis, Gigi Gatewood, Chet Gold, Victoria van der Laan, Jesse Meredith, Sarah Pater, James Marshall Porter, Jr., Anne- Audrey Remarais, Eric Souther, Susanna Starr, Paula Stuttman, and Sarah Sweeney. Works by Mark Eisendrath and Susanna Starr in particular sweep into focus, with a distinctive attention to line and form. Spanning sculpture and painting with a hint of lyric poetry, “Unseen” follows those elements that both direct and elude our line of sight.
The unseen can be that which is literally unresolved: that which exists up to a point, then inhabits the realm of both the unseen and the unknown. Artist Mark Eisendrath notes of his work Mysterioso, on view in “Unseen,” “Mysterioso existed only as an idea- not seen or felt. It did not exist, neither did the process I used to make it. It was quite literally- a mystery. ” That which cannot be seen or felt can still hold a palpable presence in our lives. As the curator of “Unseen” notes in her exhibition text, “…the complex algorithms that reinforce our behavior remain hidden to us. Our fear of being unseen makes us susceptible to manipulation.” By making that which is foreign to us palpable, “Unseen” offers the viewer a clever, nuanced portrait of contemporary society.
Susanna Starr and Mark Eisendrath share a penchant for uncovering the sought for-yet undiscovered- form. Curves and delineated lines trace the patterns of our subconscious seeking that which we do not yet know. A mysterious, yet visceral, presentation of new works by contemporary sculptors, painters and mixed-media artists, “Unseen” is a careful selection of artworks that transcend the ordinary in search of a greater meaning beyond the immediately visible.
“Unseen” is on view at Collar Works art space in Troy, NY, through Dec 14, 2019.
Occasionally an art exhibit meets a space perfectly suited to its concept; this is happily the case with Trill Matrix, on view through Jan 19th at the Abrazo Interno Gallery, Clemente Soto Vélez Center. Trill Matrix, conceived as a site-specific exhibit for the Center, is curated by artist Elizabeth Riley and features works by contemporary artists Nancy Baker, Jaynie Crimmins, Christina Massey,Elizabeth Riley, Christine Romanell,Linda K. Schmidt and Etty Yaniv. These artists frequently exhibit collectively: while each is firmly rooted in their own unique artistic practice, their dialogues and discussion form interstices linking the works on view in Trill Matrix. Showcasing a blend of sculpture, mixed media, and installation works, Trill Matrix showcases ways in which contemporary art can tease our senses. From texture to color, volume to light, Trill Matrix teases aspects of reality into new, uncharted territory for all who visit. On view at the The Abrazo Interno Gallery (107 Suffolk Street) through January 19, make sure to visit during the show’s final days – if you can, catch the closing party on Sat, 1/19! Free and open to the public – come and celebrate art while also celebrating the network of women artists behind the works, a perfect way to close out the Women’s March events in NYC!
In Trill Matrix, “trill” alludes to a moment in hip-hop culture where the words “true” and “real” blended together to suggest authenticity and cultural ascendancy. Playing off this idea of reconciling two distinct words, artists on view in the exhibit remix disparate mediums to form new hybrids. Strips of fabric gathered together form a soft-sculpture-turned-light-installation, while works composed of glass and aluminum fragments hold court with another work re-claiming electronic wires and plastic into a single immersive sculpture. The network these works forms invites closer inspection, often bringing the visitor to realize a greater understanding of the beauty that lies in waste.
Christina Massey is one of the exhibiting artists whose works present the meeting point of upcycled materials and careful composition. The artist’s Crafty Collusions series brings together fragments from upcycled craft beer cans with a blend of other materials, cleverly juxtaposing the male-dominated industry of craft beer with the “femininity” of crafting. Massey reflected on the work involved in bridging the gaps while making mixed media artworks. “The materials in themselves bring certain complications, where one material doesn’t easily adhere to another,” noted Massey. “A certain amount of experimentation has to be done to find the right glues, mixture of paint, thickness of thread, etc., but I love that experimentation, that’s where you discover new things that maybe you didn’t realize were a possibility. That can be very freeing… just allowing yourself to manipulate, play and learn, admitting that the material is going to have a certain mind of its own.”
Elizabeth Riley‘s artwork, “Prototype 2 – Canopy”, slows down new media by imprinting video stills onto paper and fusing these frozen scenes with aluminum, paint and duralar, a form of acetate. Fusing different modes of representation and interpretation, Riley questions our subjective experience of reality – whether through new means of looking and questioning or by forcing the viewer to re-think what they are observing in her mixed-media works.
Artist Jaynie Crimmins similarly plays with both ideas around reality depicted through material and notions attached to craft. The artist shreds promotional mail she receives – catalogs, flyers, etc – into minute pieces that she then re-arranges into abstract geometric compositions. Reminiscent of the cardinal directions and visually capturing a format found in the most ancient cultures, Crimmins compiles works with muted color tones and fantastic textures to witness that one woman’s trash can become the world’s treasure.
Linda K. Schmidt‘s work embodies another style of geometric abstraction, with strips of semi-sheer fabrics in block colors meticulously arranged to form striped patterns. Evoking stained glass windows or dress-making patterns, Schmidt brings color field painting and craft together in one transcendental visual form. Suspended from the floor, larger than life size, these installations induce a sense of wonder in visitors encountering her installations at Trill Matrix.
Works by Nancy Baker display a skillful assimilation of sublimation into striking visual compositions. Recalling networks of neurons, or perhaps a private eye’s visuals connecting elements of an investigation, Baker’s installation for Trill Matrix ventures as many layers deep as the visitor is willing to explore. A New Yorker by birth, Baker also plays off the idea of linked infrastructure such as that found in the NYC subway; yet, her compositions incorporate found language indicating our current social anxiety and uncertainty.
Artist Etty Yaniv plays with color and texture to reference abstracted nature through sublimely arranging upcycled materials into organic, yet repetitive, patterns. Blending networks of cords and cables into fragments of materials from discarded paintings and used plastic, Yaniv draws out the inherent beauty of detritus. Her work plays with notions related to unity and disparity, tracing harmony and dissonance through her playful use of scale and masterful composition.
Christine Romanell‘s work brings mathematical formulae and data analysis into the visual arts sphere. Applying color to patterns derived through mathematical equations, yet identifying where math also traverses organic and non-repetitive functions, Romanell’s installations make visual the corners of rationale and analysis where making sense begins to break down: with beautiful results.
Don’t miss the final days of Trill Matrix! Make sure to witness for yourself this stunning survey of the possibilities present within a mindful collection of connected yet disparate mixed media artistic practices.
BLACKOUT lives up to its namesake as an undeniably fascinating event.
Taking place on Thursday, July 26th from 7-9 pm at Hudson Valley Center for Contemporary Art, the festival is a triumphant collaboration with the Peekskill Film Festival organized by Alicia Morgan. BLACKOUT, curated by HVCCA’s Michael Barraco, features a series of short experimental films navigating the trenchant landscape of gender, race, and various political concerns. BLACKOUT taps into our current zeitgeist of anxiety blended with gradual catharsis to create touching vignettes of our contemporary moment.
Viewing political action and staged performance as nuanced facets of identity-making, films such as The Situation by Carmel Collective, Topple by Sarada Rauch and Ditch Plains by Loretta Fahrenholz offer unparalleled access to the psychological topographies and urban landscapes we are forced to encounter entrenched within the socio-political, racial and classist frameworks of today’s America.
Meanwhile, Stephanie Jamison’s Sensus Plenior and Tommy Hartung’s The Lesser Key of Solomon explore performative mimicry and the occult as scenarios that touch on the spiritual nature of society. Touching from a Distance by Angel Nevarez and Valerie Tevere unites this dual look at sign and signifier to investigate mimicry and the reality colliding in protest-ridden Guadalajara, Mexico.
Finally, gender constructs are torn down and re-evaluated in both Built to Burst by Kate Gilmore and Untitled (Women) by by Deanna Erdmann. Sexuality and gender converge in the flamboyant fantasy film Pagliacci by Livia Ungur & Sherng-Lee Huang.
Tackling and engaging with divisive contemporary topics with humor, grace and candor, the films for BLACKOUT shine a bright light on the most pressing social issues of our current moment in surprising, and rewarding, ways. Artists Tommy Hartung, Sarada Rauch, and documentary subject of Paggliaci Rick Cataldo will even be present to introduce their respective films! Make sure to secure your tickets to BLACKOUT before it’s too late; link below.
Legacy speaks volumes, and in Long Island City, who better to reintroduce the stunning former DeNobili Cigar Factory space as a brand new arts center than two established curators: Krista Scenna of Brooklyn’s Ground Floor Gallery and Caroline Peñafiel of Local Project in Queens. Scenna and Peñafiel are well known on the local scene, and have carefully selected a cohort of contemporary artists to christen this formative new Long Island City arts space. The curators have selected an eclectic and talented group of New York City artists through an open call process for this inaugural exhibition, Allow Me to Reintroduce Myself, opening Thursday, June 21st from 5-9 pm at the space located at 9-20 35th Avenue in Long Island City.
Fifty-seven years after closing, the former factory re-opened in 2017 as a mixed-use creative space. This welcome new sanctuary for arts in Long Island City is opening its doors to local creatives for exhibitions and events. This inaugural exhibition features work by dozens of NY-based artists, including Christina Massey, Peter Gynd, Etty Yaniv, Patricia Fabricant, Shira Toren, Blanka Amezkua, Esperanza Cortez, and more. All artists are listed on the Facebook event listing for Opening Reception: An Art Show for the Cigar Factory LIC. In addition for serving as a blank canvas of sorts for the creative community in New York City, collectors of all backgrounds are more than welcome as well – most artworks on view will be price near or below $1000!
Brooklyn-based artist Christina Massey has two artworks featured in this stunning, immersive exhibit: “Feminine Blue” and “Girly Gothic”. Both works were produced this year as the result of a labor-intensive process in which the artist combined remnants of past watercolor and collage artworks with newly developed skills from her SIP residency as part of the EFA’s Robert Blackburn Printmaking Workshop. These works combine a delicate approach to line with bold patterns and hues, crafting fantastic and mythology obejcts protruding diagonally across the picture plane. Massey’s works display a masterful painterly touch, both elusive and intrepid in their hybridity.
Massey’s works are definite standouts in the exhibit, on view at the Cigar Factory LIC through Thursday, July 19th. With over ten years of exhibition history, the artist holds a BFA from California State University, and experiments across painting, printmaking and soft sculpture. In addition to her inclusion in Allow Me to Reintroduce Myself, the artist is also concurrently exhibiting at the Korean Cultural Center through July 6th, and will be exhibiting work in the upcoming SIP Summer Exhibition at Elizabeth Foundation for the Arts from July 11-29.
Allow Me to Reintroduce Myself is free and open to the public. Exhibition hours are during events on Friday, June 22nd and Thursday, July 19th with additional viewing hours on Thursday, July 12th from 3-7 pm and Saturday, July 15th from 1-6 pm. For additional information or inquiries, please contact Krista Scenna: Krista@groundfloorbk.com
(Below installation images of Cigar Factory LIC’s Allow Me to Reintroduce Myself, courtesy the curators.)
Spanning fine art, fashion and even sericulture, artist Ida Ivanka Kubler truly earns the moniker multidisciplinary artist. Drawing particular inspiration from the natural world, Kubler creates a practice synthesizing natural materials and humanist subject matter. Placing the figure in nature, or evoking figurative elements in reclaimed organic matter, Kubler masterfully comments on our place within the wider ecosystem and our integration with natural phenomena in a visceral, poignant manner.
We sat down to chat with the artist about her interest in integrating natural materials in her work and how her practice combines disparate elements into a unified whole.
ANTE. Thanks for chatting with us today, Ida! Many of your artworks either draw inspiration from natural motifs, such as landscapes, or incorporate actual natural materials (such as your Birth of an Idea series). Can you explain your interest in nature and how it inspires you as an artist?
IIK. Art is a journey. I tried to settle in one place but life encourages me to travel: from forest to deserts, grasslands, oceans, rivers, snowy landscapes, mountains, even the ruins of older civilizations. I accept the paths this journey has brought into my life.
My art has become my diary: sometimes in physical form, when I use the materials I’ve gathered along the way, and sometimes in an image when I use the visual identity of a place.
ANTE. You also seem to have an affinity for portraits and the human body. Do you have a preference for portrait or landscape? Do you like to combine the two, and can you explain if you treat either subject differently in terms of medium (oil, acrylic, etc)?
IIK. My professional arts training started in my teenage years with a specific study of the skull found in a book called “Anatomy For Artists”. At arts school I was taught to see the body “under the skin”.
From my beginning in this traditional realistic painting knowledge about muscles and bones, I then moved to the medium of landscape. If you have a passion and you wish to follow it professionally, you have to go for the challenges and also take risks. What I’ve discovered is that it is good to use oil paint to convey depth through many transparent layers in portraits and landscapes (such as in my Non-Material series) while for abstract works it’s better to use acrylics as it can be applied only in one layer in perfection. Once can then reach greater depths through examining three-dimensional aspects in their work (as with The Birth Of An Idea Series)
Also, once I get too comfortable with one thing I find it stimulating to switch to something else!
ANTE. Which artists have inspired how you make your artwork?
IIK. Very consciously for my Non-Material series I was influenced by Peter Doig, especially artworks like “White Canoe”, “Orange Sunshine”, and “Rosedale.”
This inspiration made me go to London to study at Chelsea College of Arts (the same university where Peter studied.) Subconsciously, for my The Birth Of An Idea series I was influenced by Mark Rothko. I found out this much later, by the time I’ve created the 50th piece and was halfway through the series. He is more into red squares where I like blue tones and circles! But we both use simple geometric forms and color as a medium.
ANTE. Which natural settings or phenomena have inspired your artworks?
IIK. Sublime magical settings in the forest, waterfalls, rivers, fog, weather, natural forms, and stones inspire my Non Material Series. Silkworm cocoons have led to The Birth Of An Idea series.
As an example, last summer the natural rock phenomenon in Bulgaria, called stone mushrooms, greatly inspired me and I made a short art film where I painted in front of these natural structures. I painted with honey and powders: turmeric, green tea, white egg shell, cacao and fruit powder on a honey comb, and finally the film crew and I shared the artwork together – eating it as a feast!
ANTE. Explain your diverse background in creative, arts and fashion industries. How do they inform each other? What is your education and training, and how does it impact the artist you are today?
IIK. I was born an artist and my talent expresses itself fervently. When I was young, my mom couldn’t get me away from the table where I was painting the whole day. In my early twenties, I got involved in fashion and I ran a fashion company for many years as a way to make money. I wasn’t ripe enough to survive only from art. With that fashion company, we were present at fashion shows in both Paris and New York. We had celebrities as clients. One famous actress said once that she loved my dresses as they are like artworks. And indeed I was using fabrics made out of paper, flowers or other very exclusive and rare, crèmedelacrème fabrics.
These days for some of my art shows openings I create my own outfits as a protest to today’s “uniformity”.
I’ve attended classes at five schools for my arts training, and one school for fashion, including the National Academy of Arts, Sofia, Bulgaria; University of Applied Arts, Bielefeld, Germany; and Chelsea College of Arts, London, UK.
What you learn in art about sculpting was very useful in fashion draping. There is in many ways little separation between the two.
ANTE. Can you explain a bit more about your Non-Material series? How do you create these works and what inspired you to begin the series? What direction are you headed with this series?
IIK. What I like about my Non Material series is that it combines three important aspects that excite me: traditional professional painting, in-depth technique, and community/family spirit.
The depth and transparency in these pieces appears through many thin layers of exclusive paint from the Old Holland palette – for me, the hallmark brand of high quality of paint. This technique is complex, with the result that it takes months to make one painting.
The subject “on stage” are two or more people walking next to each other in a natural setting. The scene could be from any period of time, as the clothing of the people is not important, but their close connection to each other and relation to the group as a whole is key.
My clients for these portraits are often families. I portray them walking together, perhaps before or after lunch. Walking together creates a special bond in families. Walking together could be a synonym for thinking together, experiencing together, and loving together. To catch the energy in this family dynamic is a very exciting task. Families who are interested in capturing this unique perspective can feel free to reach out to me, as I happily take commissions in this expanding series.
ANTE. Your works are held in art collections the world over. Can you share what are some themes that your collectors admire in your work? What are some common responses that you get from those interested in your artwork, and how does your work inspire them?
IIK. I call the responses to my artworks ‘gifts”, as they come to me like positive surprises. My last client was from LA, and my dealer there forwarded her message to me saying, “The piece spoke to me, so I had to buy it and give it a home.”
Some of my works have even helped people heal through psychological stress. My works have been published by Behring Institute for Medical Research as deemed to improve individual’s health. I understand myself expressing healing messages through my artworks.
Also, some of my collectors in the past have invited me to paint in salons in their home, so I’ll stay and spend time painting in this room in the their home that serves as my dedicated studio. While I paint, it is often the children who will visited me to watch me paint several times per day. I’ve received emails like: “My little girl is asking when Ida will be back here again?” or “Why is Ida having such a long holiday away from us?” or “My boy is waiting in the morning at the window and asking for Ida”. I am happy I inspire children through my art-making.
ANTE. What upcoming exhibition and shows can you tell us about?
IIK. My next exhibition will be in LA. To subscribe to my invitation list, please feel free to email me at firstname.lastname@example.org