ArtSlant - Current exhibits en-us 40 Fiona Connor, Fiona Banner, Superflex, Pae White - 1301PE - July 12th - August 2nd Fri, 18 Jul 2014 18:13:40 +0000 Miljohn Ruperto - 18th Street Arts Center - July 14th - October 3rd <p style="text-align: justify;"><span style="font-size: small;">For the latest iteration of 18th Street Arts Center&rsquo;s Artist Lab series, artist&nbsp;<a href="" target="_blank">Miljohn Ruperto</a>&nbsp;brings the Lab framework into dialogue with science and philosophy. In collaboration with animator Aim&eacute;e de Jongh and neuroscientist Rajan Bhattacharyya, he will investigate the speculative possibilities of mineral &ldquo;deformities&rdquo; inspired by Georges Canguilhem&rsquo;s text,&nbsp;<em>Knowledge of Life</em>. The three come together to grapple with a particular assertion by Canguilhem, a philosopher of science, that &ldquo;there are no mineral monsters,&rdquo; or rather that the scientific category of mineral is incompatible with human notions of deformity. Ruperto&rsquo;s exhibition&nbsp;<em>Mineral Monsters&nbsp;</em>delves into a space wherein humans are irrelevant, unable to project their own attributes onto or against the material world. His work then troubles that space by introducing visual aspects that trigger our implicit, negative responses, such that the neutral tenor of Canghuilhem&rsquo;s position shifts to a more troubling, oppositional one. Ruperto will use the Artist Lab as a working studio to untangle the relationship between science and philosophy and contemplate the ways in which our categorization of natural phenomena both shapes and hinders our broader conceptualization of life. Working together with animator de Jongh, Ruperto will create computer-generated visuals. These visual forms will be derived from conversations with Bhattacharyya and from his research based in concrete scientific principles.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Canguilhem, a French philosopher and physician, served as a mentor to many scholars and philosophers, notably Foucault and Derrida.&nbsp; His work often questions accepted science, arguing that it serves to reduce organisms to neatly functioning and predictable machines when in fact biology is complex and subject to wide variation. According to Canguilhem, all minerals exist in nature, whether they contain mutations or not, and thus the idea that there exists typical and atypical varieties of minerals is simply a human construction. Ruperto and his collaborators use Canguilhem&rsquo;s negation of human potential for influence over nature as the starting point for a meditation on the basic nature of humans to be governed by attraction and repulsion.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Ruperto&rsquo;s interest in scientific philosophy and history is ongoing, represented by his earlier collaboration with artist Ulrik Heltoft,&nbsp;<em>Voynich Botanical Studies</em>, exhibited at the Thomas Solomon Gallery in New York in 2013 and in the 2014 Whitney Biennial.&nbsp;<em>Voynich Botanical Studies&nbsp;</em>was inspired by a 16th&nbsp;century manuscript containing drawings of various species of plants whose historical existence cannot be corroborated scientifically. Also displayed at the Whitney was an earlier collaborative animation created by Ruperto with de Jongh.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Miljohn Ruperto&rsquo;s Artist Lab Residency at 18th Street Arts Center and all associated events have been made possible through the generous support of the&nbsp;<a href="" target="_blank">Los Angeles County Arts Commission</a>&nbsp;and&nbsp;<a href="" target="_blank">The Andy Warhol Foundation for the Visual Arts</a>.</em></span></p> Fri, 18 Jul 2014 18:13:32 +0000 Yukako Ando - 18th Street Arts Center - July 14th - September 30th <p style="text-align: justify;"><span style="font-size: small;">18th Street Arts Center&rsquo;s visiting artist&nbsp;<a href="" target="_blank">Yukako Ando</a>&nbsp;presents several site-specific installations in the Atrium Gallery that engage with themes of urban daily life in Los Angeles. This exhibition documents Ando&rsquo;s questions and impressions informed by the humor of American &ldquo;pop consumption culture&rdquo; and by her interior responses. Ando&rsquo;s approach to her work is diaristic, instinctive, and personal. Ando uses daily necessities to create the important elements of her work and explore ideas of time and space, drawing additional inspiration from the city&rsquo;s climate, buildings, and freeway connections. The works on exhibit reflect her experiences of Los Angeles collected from past visits and during her residency.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Yukako Ando is a visual artist who focuses on the everyday phenomena from which the fundamental questions of life are configured. Ando, born in 1972 in Osaka, Japan, currently lives and works in D&uuml;sseldorf, Germany. She graduated from the Department of Sculpture of Kyoto Seika University in 1994 and earned her MA degree from Kunstakademie D&uuml;sseldorf in 2001. She has won numerous international scholarships and prizes. Most notably she is a recent recipient of the Program for Arts Fellowship by the Japanese Department of Cultural Affairs who is the funder for her current residency at 18th Street Arts Center. Additionally, she is currently a 2014 Japan-United States Exchange Friendship Program in the Art Fellow, which is sponsored by the Art of Japan-United States Friendship Commission.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>&nbsp;Atrium Gallery programming is underwritten by the&nbsp;<a href="" target="_blank">Andy Warhol Foundation for the Visual Arts</a></em></span></p> Fri, 04 Jul 2014 15:19:21 +0000 Group Show - 2nd Cannons - June 7th - July 26th <p style="text-align: justify;"><span style="font-size: small;">For&nbsp;<em>Make the Living Look Dead</em>, Book Works invited a selection of artists it has previously worked with over the last 30 years to make a new work on A4 paper as a contribution, intervention or fictionalization for its archive. Each work plays with notions of time and exposes the fragility of coherence inherent in the archive. Contributions range from original discarded material to found objects or fabricated letters, as well as new work masquerading as past proposals or future projections of sequels, panegyrics or unfinished work.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Participating artists are: An Endless Supply, Steve Beard and Victoria Halford, Pavel B&uuml;chler, Martin John Callanan, Brian Catling, Adam Chodzko, Jeremy Deller, Mark Dion, Giles Eldridge, Ruth Ewan, Luca Frei, Dora Garc&iacute;a, Beatrice Gibson and Will Holder, Liam Gillick, Susan Hiller, Karl Holmqvist, Stewart Home, Hanne Lippard, Jonathan Monk, Bridget Penney, Sarah Pierce, Elizabeth Price, Laure Prouvost, Clunie Reid, John Russell, Slavs and Tatars, NaoKo TakaHashi, Nick Thurston, Lynne Tillman, Mark Titchner, Alison Turnbull, Eva Weinmayr, and Neal White.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This project will be shown alongside recent publications commissioned by Book Works and a series of poster projects by: Fabienne Aud&eacute;oud and John Russell, Stewart Home, Inventory, Jonathan Monk.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Live Events with HEAD Gallery, Jarett Kobek, Maxi Kim and others to be announced.</span></p> <p style="text-align: justify;"><span style="font-size: small;">--</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>About Book Works</strong></span><br /><br /><span style="font-size: small;">Established in 1984, Book Works is an art commissioning organization specializing in artists&rsquo; books, spoken word and printed matter. It is dedicated to supporting new work by emerging artists, with projects initiated by invitation, open submission, and guest-curated projects. Book Works consists of a publishing and commissioning department; and a studio specializing in binding, box-making and multiples. Its activities include publishing, a lecture and seminar program, exhibitions, the development of an on-line archive, and artists&rsquo; surgeries and workshops held by both the publishing department and the studio.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Make the Living Look Dead&nbsp;was commissioned as part of the touring exhibition&nbsp;Again, A Time Machine&nbsp;2010-2012, supported by Arts Council England Grants for the Arts; The Henry Moore Foundation; Iran Heritage Foundation; Polish Cultural Institute; Sharjah Foundation - Sharjah Biennial 10, 2011; FLAMIN; Institute Fran&ccedil;aise du Royaume-Uni; Culture Ireland; and Mark Pawson.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><a href="" target="_blank"></a></span></p> Tue, 10 Jun 2014 18:16:28 +0000 - A + D Museum - June 9th - August 31st <p style="text-align: justify;"><span style="font-size: small;">An exhibition of spatial interventions reflecting on the inquiry of scale.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Historically, Los Angeles as a city has been a site of inspiration and exploration for architects and designers alike. The city has been developed around and defined by a variety of large-scale urban planning projects as well as medium and smaller sized residential and public work Including housing, product design and technological Innovations, through these various architecture and design projects, the city has nurtured experimental pursuits and critical inquiry and today it continues to expand in the contemporaneous city.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Projects are currently being developed at various scales All over L.A. from miniscule to monumental and everything In-between. Small, medium, large, extra-large Los Angeles takes Rem Koolhaas and Bruce Maus seminal text as a departure point and more importantly as an organizing principle to examine the production and discourse of Architecture and design within today&rsquo;s city of L.A. bringing coherence to the body of work of an emergent group of Los Angeles-based designers that span across disciplines from architecture and graphics to digital media and sound art, to jewelry, landscape, lighting, product, and textile design; the show highlights the ways in which young Practitioners are currently thinking and making in los Angeles in addition to their impact on the present-day city and its future.</span></p> Sat, 31 May 2014 08:42:14 +0000 Helen Pashgian - Ace Gallery- Beverly Hills - July 14th - August 16th Tue, 15 Jul 2014 12:10:24 +0000 Bernar Venet - Ace Gallery- Los Angeles - July 20th, 2013 - July 26th <p class="p1" style="text-align: justify;"><em>&ldquo;My works are often the result of an unexpected event. The impression of precarious equilibrium that this sculpture evokes is in fact the result of a group of arcs&rsquo; accidental slippage.&rdquo;&nbsp;</em></p> <p style="text-align: justify;">&nbsp;</p> <p class="p1" style="text-align: justify;">&ndash; Bernar Venet</p> <p style="text-align: justify;">&nbsp;</p> <p class="p1" style="text-align: justify;">The revelation of the processes of production in the work of art is clearly the governing principle behind the series&nbsp;&nbsp;<em>Indeterminate Lines</em>&nbsp;that made their appearance in Bernar Venet&rsquo;s work from 1979. &ldquo;Indeterminate&rdquo; because they are diametrically opposed to the mathematical determination of their predecessors.&nbsp; More vague and less tangible, they cannot be reduced to an equation: they nevertheless seek a form of physical certainty strong enough to silent the confusion of meanings and to demonstrate explicitly that their one truth and reality is that of a piece of work.&nbsp; The obvious geometrical forms of previous pieces are here replaced by the direct manipulation of a raw material.</p> <p style="text-align: justify;">&nbsp;</p> <p class="p1" style="text-align: justify;">Venet&rsquo;s daily working process is a sort of satisfying game of natural constraints between his artistic intentions and the material itself.&nbsp; Each orients the other and is oriented in its turn.&nbsp;The artist proposes directions but at the same time he&rsquo;s directed by the steel bar that resists. In this fascinating subtle game of concessions, the artist must leave its autonomy at the helm. The esthetical result is a compelling testimony to the act of forming and to the inherent possibilities of the material.&nbsp;</p> <p class="p1">&nbsp;</p> <p style="text-align: left;"><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: center;"><span style="font-size: small;">*Opening Concurrently at Ace Gallery Los Angeles &amp; Beverly Hills<br /> Saturday July 20, 2013<br /> Beverly Hills 6:00 Pm - 8:00 PM<br /> Los Angeles 8:00 Pm - 10:00 PM</span></p> Mon, 07 Jul 2014 17:50:36 +0000 Mary Corse - Ace Gallery- Los Angeles - March 3rd - July 26th Mon, 07 Jul 2014 17:50:29 +0000 Charles Fine - Ace Gallery- Los Angeles - March 3rd - July 26th Mon, 07 Jul 2014 17:50:43 +0000 Phil Frost - Ace Gallery- Los Angeles - March 3rd - July 26th <p style="text-align: justify;"><span style="font-size: small;">New York based painter Phil Frost (b. 1973) has evolved a consistent, instantly recognizable aesthetic synonymous with his name, which he refers to as &ldquo;intuitive perceptive portraiture.&rdquo; This first exhibition of new work at Ace Gallery testifies to his relevance and extensive cultural reach as a leading contemporary artist who is self taught. Frost&rsquo;s title for the exhibition, with its multiple meanings, alludes to the ascetic life. Referring to the internal struggles involved in the act of painting, it is often an unnerving personal journey involving intense discipline and patience in self-imposed isolation. Encoded in the pursuit, there is no straying from a discipline in which he is immersed. As many artists and writers experience, <em>The Solace of the Sword </em>references the struggle with solitary confinement required to create. Frost&rsquo;s visual language melds layers of flat-white, culturally indeterminate mask-like forms with bold typographical and fluid,&nbsp; glyphic, geometric, and sinuous shapes that dance above vivid spectrums of painterly color, forming the long-necked busts and repetitions of faces that are pronounced as his intuitive portraiture.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Raised in rural Western Massachusetts, from a young age he grew up searching for and sometimes finding Indian adzes and arrowheads in farm fields and forests, and he made use of a natural fountain found at the edge of the woods that spouted clay by sitting at its rim and forming shapes in his hands. Early artistic experiment found him repetitiously drawing the white streak found in the hair of comic book scientist Reed Richards of The Fantastic Four, as well as scenes of Pac-Man chasing ghosts, and the antennae found on Batman&rsquo;s mask. Just before his early teens, Frost began to enjoy spending time on summer visits with an older cousin who was an authority on antique glass bottles found in Northwestern Ohio. Together they would go on expeditions armed with maps of former times from the library and dig farm fields and abandoned rural dumps for glass vessels.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The unearthed treasures were impressed upon his mind and this archaeological drive influenced him, and would continue to. It was later revealed when he began making work imbued with collected and found objects, as a way to present the actual passage of his life gesturally into the context of a painted visual passage&mdash;a representation to articulate how the now inflects a lineage of experience in time and space that is formed both physically and intuitively from what is around him.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In his adolescence Frost moved, along with his younger sister and mother, by whom he was solely raised, to Cooperstown, NY for just over two years. There, an early fascination with baseball and in particular the position of pitching and the arabesque-like gesture made by a swinging bat was deepened.</span></p> <p style="text-align: justify;"><span style="font-size: small;">His teenage years were spent in Albany, NY and were consumed by skateboarding downtown in the Capital District, where various terrain included Ellsworth Kelly sculptures and the perfectly transitionally-formed marble quarter-pipes, the glass walls on the architecture of Wallace Harrison&rsquo;s Egg, and the marble playground he designed known as The Nelson A. Rockefeller Empire State Plaza. His often taking off on excursions to New York City to skateboard with friends led to an awareness and depth of interest in graffiti and anonymous mark making. Eventually cracking both of his kneecaps and repeatedly breaking both wrists, Frost was about to drop out of high school when a principal recommended an independent-study art class, to make up extra credit. With no teacher but the materials put in front of him, Frost would figure out how best to stretch a canvas, venture to find objects he could use as material in left over fire pits, and decide that he wanted to be a painter on his own terms. At a yard sale he attended with his mother he scored a 25-cent brown paper bag of oil paints along with a copy of David Sylvester&rsquo;s Interviews with Francis Bacon that led to his further conviction. Captivated, he read it intently and repeatedly. Also self taught, Bacon&rsquo;s ethos resonated deeply and triggered in Frost, at the age of eighteen, an eager thirst for art-historical precedents, including in particular, Alberto Giacometti, whose fascination with heads, busts and figures in space began the evolution and direction that has defined Frost&rsquo;s work today.</span></p> <p style="text-align: justify;"><span style="font-size: small;">At eighteen, late in the summer of 1991, Frost moved on his own to Long Island City, Queens. Here, he took union jobs, laboring in the night on the backs of trucks so that he could have his days free to persistently explore museums, scour the streets for materials, and make his work in the tiny, windowless basement studio that he inhabited. Surrounded by many different ethnicities and without speaking or understanding any language other than English, Frost found immense inspiration in closing his eyes on the subway and listening to the sound of multiple languages being spoken all at once, recording fragments of words and charting with his eyes closed a hybrid of language. Early work with typography found him knocking out the negative space created by letterforms with white, as a way to "pop," or form random patterns of shape, to react against color. These fluid and sinuous patterns of white shapes that often dominate his work of late came from a progressive evolution of the reduction of words that in the same way often form a nonsensical lingual chanting woven throughout the intricate layering in his painting.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Phil Frost was born in Jamestown, NY in 1973 and currently lives and works in the Upper Hudson Valley region of Upstate NY.&nbsp;</span></p> Mon, 07 Jul 2014 17:50:25 +0000 Michael Henry Hayden, Julian Rogers, Ross Sawyers - ACME - July 19th - August 23rd <p style="text-align: justify;"><span style="font-size: small;">ACME. is pleased to present an exhibition of recent works by Michael Henry Hayden, Julian Rogers, and Ross Sawyers. All three artists employ a strong sense of light and shadow to subtly reveal and define the ambiguous spaces within their works. Familiar objects are removed from their usual context making them unrecognizable until closer inspection. </span><br /> <br /><span style="font-size: small;"> Michael Henry Hayden combines realistic painted illusions of light and shadow with real-life constructed relief surfaces to create trompe l'oeil facades of architectural and organic imagery. The imagery never comes fully into view, but is revealed through familiar, yet ambiguous patterns and textures. Hayden shows another clue to the viewer by constructing these illusions at real-life scale.</span><br /> <br /><span style="font-size: small;"> Julian Rogers' paintings depict still life arrangements of fruit on rocky outcroppings in diffused monochromatic fields of color. Although the paintings are rendered meticulously, Rogers' subtle palette and unusual light sources creates a phenomenal, optical effect where the still life scenes shimmer in and out of focus. Like Hayden, Rogers paints his still life scenes at real-life scale.</span><br /> <br /><span style="font-size: small;"> Ross Sawyers' photographs deeply hued, mysterious spaces that are seductive and disorienting. Light seems to pierce, slice, and cut through Sawyers' architectural spaces and surfaces. Sawyers achieves this effect by photographing small-scale models that he has manipulated and altered, giving the viewer an ambiguous sense of scale.</span></p> Sun, 06 Jul 2014 09:25:11 +0000 Robert J. Lang - Alyce de Roulet Williamson Gallery - June 17th - August 20th <p>**</p> <p><img style="display: block; margin-left: auto; margin-right: auto;" src="" alt="" /></p> <p>&nbsp;</p> Tue, 24 Jun 2014 15:39:10 +0000 Group Show - Anat Ebgi - June 13th - July 26th <p style="text-align: justify;"><span style="font-size: small;"><strong>Anat Ebgi</strong> is pleased to announce <strong><em>Duckrabbit</em></strong>, an exhibition organized by Jason Bailer Losh, opening June 13 and on view until July 26, 2014.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Whenever someone other than the artist sees an artwork, a duckrabbit is born. A lobed inkblot, seen one way, resembles a duck; seen another, a rabbit. The eye is an eye, but the ears are also a beak. The artist draws a duck; the viewer sees a rabbit. The present show is the public debut of rare and energetic creatures, born in the solitude of the studio, anxious to be seen. The present show is the consummation of a long flirtation between intent and reception.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Duckrabbits fill the damp warren of the gallery. As the viewer wades in, ankle deep in duckrabbits, interpretations proliferate. Wherever you look, behind every rustle in the weeds, out darts another aesthetic dilemma: duck or rabbit; rabbit or duck. Sculptures read as inverted furniture; photographs confuse the optical and the physical; paintings extrude the picture plane into vertical still lifes. Plinths, striations, expressive lines, painterly marks, texture, polish, highlights and shadows abound. The borders between sculpture and installation, sight and touch, art and object approach a feathery, furry precision. These duckrabbit scenes, meant to be read one way, read another, pivot around a core, around an eye common to both duck and rabbit: the quality of being art.</span></p> Fri, 18 Jul 2014 18:14:01 +0000 - Angels Gate Cultural Center - May 12th, 2013 - June 19th, 2015 <p>The 2013 -2015 exhibition year at Angels Gate Cultural Center marks the beginning of a larger concept that explores our local community’s stories and personal narratives in the galleries. We hope to generate dialogue about how, as a community, we can share and communicate regardless of differing opinions and ideologies. The gallery will be turned into an experimental space where art and art-making become part of an ongoing conversation about the community. Through partnerships with local non-profits, artists, storytellers and the community at large, the galleries hope to capture a slice of Americana that is unique within our nation and particular to Los Angeles. Artist's work will rotate on an ongoing basis. <br /><br /><small><br /></small></p> Sat, 11 May 2013 02:32:05 +0000 Fausto Fernandez - Angels Gate Cultural Center - February 9th - January 9th, 2015 <p>Angels Gate Cultural Center (AGCC) exhibition cycle 2013-2015 explores how stories within the community shape the collective&nbsp;consciousness&nbsp;in San Pedro and South Bay area. For 2014, Los Angeles based artist Fausto Fernandez was selected to work on the next iteration of the exhibition cycle. The collaboration marks&nbsp;the beginning of a year-long partnership with the&nbsp;Southwest Regional Council of&nbsp;Carpenters,&nbsp;the Pile Drivers, Bridge, Dock and Wharf Builders Local Union 2375 whereby&nbsp;AGCC will explore the stories of members and their families, the history of the labor movement in San Pedro and how this impacts the community at large.&nbsp;</p> Fri, 31 Jan 2014 00:11:23 +0000 Judy Fiskin, Soo Kim, Ori Gersht, Matt Lifson - Angles Gallery - July 12th - August 30th <p style="text-align: justify;"><span style="font-size: small;">Judy Fiskin, prominently featured in the 2014 Hammer Biennial exhibition, "Made in L.A.," will be represented by her exquisite photographs. Diminutive, graphic and pure, her serialized works ("Desert," "Dingbat," "Portraits of Furniture," "Military Architecture" among them) are the essence of a long-lost art. Simmering under the radar for many years, Fiskin's profound influence on the medium has been acknowledged by museums around the world. Her photographs and films are held in the collections of the National Gallery of Art, Washington; Stedelijk Museum; LACMA; MoCA Los Angeles; SF MoMA; J Paul Getty Museum; and Biblioth&eacute;que Nationale, Paris, among others. A catalogue raisonn&eacute; was produced by Getty Publications in 2011.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Ori Gersht will be represented by a single image from his 2005 series&nbsp;<em>Liquidation</em>. Although geometrically larger in scale than works by Judy Fiskin, Gersht's&nbsp;<em>Liquidation</em>series illuminates his ability to draw ethereal images from seemingly benign landscapes without using digital technology. His most potent tool is the power of observation, letting the camera capture what the eye might not see in a casual glance. The depth of time and space presented in this work take the viewer into a deep well of history. Gersht has captured the beauty of the landscape while drawing out the brutality of historical events long since past and now invisible to the naked eye.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Soo Kim continues her interest in the materiality of photography with her new series<em>Backlight</em>, which evolved out of her previous body of work,&nbsp;<em>Invisible Cities</em>. Each print starts with a crease made by folding a straight line informed by a line found in the photograph: the side of a building, a power line, a lamp post. The print is flattened, and additional folds are made in this fashion until the entire print is marked with creased fold lines throughout. The geometric spaces made by the fold lines are then cut out of the print, alternating cut spaces and spaces left intact. The neon colored back of the photograph bounces back into the empty spaces cut in the photograph. Though the back of the photograph is unseen as a surface, it can be seen through the reverberation of the color reflecting off the wall, and filling in the voids of the negative spaces in the composition.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Matt Lifson's new work aims to harness the suggestiveness of painting. A representational painting on canvas is veiled with a field of gestural marks and color on transparent synthetic silk fabric. Each painting is essentially two paintings in one: the silk painting provides limited access to the photo-based painting beneath. The effect is a disjointed harmony that breaks up the image into multiple pictorial fragments, suggesting apparitions and reflections of unknown origins, placing the "real" into an ethereal pictorial plane while complicating storytelling through the production of alternate narratives of a single image.&nbsp;<strong>&nbsp;</strong></span></p> Fri, 18 Jul 2014 18:14:21 +0000