Newman Popiashvili Gallery is pleased to present a group show of the gallery artists. The title of the exhibition Almanac references the tradition of documenting of events in the present year, to create a basis for prediction of seasonally recurring weather conditions, appearance of stars and constellations, and other events. This exhibition presents a set of works that have been created recently, as well as a few years ago, reflecting on the idea of data-organization and prognosis for the future through being shown together.
Michel Auder’s photographs Rocket, Eye, Fighter and Guns, Only Louis Waldon’s Gun present an array of consecutively photographed images. The images shot in different locations and on separate occasions, produced on a four–frame strip of film, were later scanned and reassembled into the present groups.
Helen Beckman’s work evolves from a response to an artistic tradition of representing figure within landscape. Beckman’s paintings are populated with a variety of personal archetypes, referencing natural decay and coarse repairs to past grandeur.
Tyler Drosdeck’s sculptures have the illusion of being real life objects. Untitled (Silver) appears as painted plywood, but in reality it is a cast treated with silver-leaf and oil. Gathered by the artist, the overlooked, discarded objects have been altered in a specific way, exposing the intersection of the mundane with an elevated aesthetic sensibility.
Adriana Farmiga’s piece examines change and reconstruction, addressing specifically the visual qualities of construction sites found in the NYC metro area, and the recent surge of hurricanes in the region. The piece functions as both painting and sculpture, where the construction scaffolding is a testament to the layers of time, blue paint reapplied at each new site.
Marcia Hafif’s photographs deal with observing and recording a series of consecutive events; each image in a way predicting the next. The interrupted meal and the arising tension are translated into a photographic storyboard.
Adler Guerrier’s drawings can be easily associated with maps through the geometrical shapes that float and intersect on diffused background of yellows and blues, together with a layer of collage and typographic elements. The text undergoes a transformation, where it becomes nearly unreadable.
Michael Huey’s photographs are based on the artist’s work with the documentation of interiors. The artist examines the readymade nature of extant arrangements of various everyday objects in a manner that tries to reveal their meanings with minimal interventions. The familiar takes on a ghost-like shimmering quality adding another dimension to the relationship between past and present.
The exhibition includes Gerben Mulder’s recent paintings. Each stroke on the canvas appears suspended in space emerging through a vibrant array of colors. The elements of abstracted flowers stand as separate states of mind in steady effort to negotiate structure within the disarray of isolated emotional events.
Mark Woods’ photographs from the After Analysis series concentrate on depicting ordinary objects and locations in peculiar relationships. The photograph Hood shows the front section of a damaged car, duck-taped together. The image extends an allegorical reading of reconstructed physical past to anticipated future, just like a traditional Almanac allows prediction of events.
The ceramic and marble sculptures by Italo Zuffi’s are a direct evidence of the durability of those materials in the face of nature. Each group of objects is an exact reproduction of industrially made bricks. The sculpture functions as a reference to architecture and its basic components, as well as an absurdist task of such manual replication.