February 28 through April 18 at Artspace Warehouse:
Abstract Urban Harmony
New artworks by Swiss artist Edith Konrad, Los Angeles artist Ron Piller, New York artist Mary Corman, and Los Angeles artist Brenda Holzke, among many others.
Swiss artist Edith Konrad has studied in numerous master classes with artists from Germany and Italy. She paints in a variety of techniques in Switzerland and Italy-particularly acrylic on canvas, collage and mixed media. She has been represented at several art fairs including Montreux, Geneva, Salzburg, Rotterdam, Marbella, Porto Ceresio, Los Angeles and Paris She won the 2009 Palm Art Award, a Certificate of Excellence for outstanding artistic quality and originality of the work. In 2010 she exhibited at the Salon de la Culture at the Louvre in Paris, France.
It was not until recently that Los Angeles artist Ron Piller was able to realize his lifetime ambition of painting full time. Color and geometric order/disorder are his main focus. Beginning each painting he seeks to create a subtle but visually engaging ground which serves as a foil to the next layers of geometric shapes - usually stripes, squares or color spokes - all contained within or challenging the penciled grid. He works with acrylic paint on wood panels. Frequently he layers newsprint and advertising with glue and then sands it to create a background. He finishes his work with resin, as it provides a window into the work and also reflects back the room and light in which it hangs.
Brenda Holzke lives and works in Los Angeles. In 1985 she graduated from The Art Center College of Design with a BFA. Brenda's series of collage and mixed media wall art are applied to found board and layered with painted paper, textiles, found metal, fired clay and other inanimate objects. A continuous thread throughout her work is the marriage between color, pattern and texture.
New York artist Mary Corman is intrigued by the seemingly mundane. There is an alluring mystery to these strangely familiar, yet distant environments. Her work speaks to uncertainty-the rise and fall of these once glimmering sites and those who inhabit them. They act as constant reminders of an unintended consequence of disposable culture: the fragile aesthetic of an ephemeral, transitory built environment.
This precariousness and unknown is translated in her work through altered geometry and unreal architecture. Mary's paintings become studies of flatness and depth, growth and decline. Giving her work a luminous quality, her abstract, anonymous buildings are not tied to any specific place. They feel like paper lanterns: tenuous, weightless, movable.