Nancy Margolis Gallery is pleased to announce the opening of “WHITE|BLACK” on September 11, 2014, from 6–8pm, on view until October 11, 2014. The exhibition will include mono- and bi-chromatic works by artists Rebecca Adams, John Dante Bianchi, Gregory Hayes, Michelle Hinebrook, Rachel Garrard and Steve Yancar. Each of the participating artists is new to Nancy Margolis Gallery except for Gregory Hayes, who had his first solo show, “Shooting Star,” with Nancy Margolis Gallery in April–May 2014.
Rebecca Adams, Providence, RI, paints acrylic on canvas portraits in black and white, referencing stylized and graphic photography and film. After receiving a BFA in photography from the Rhode Island School of Design in 2006, Adams transitioned into painting, utilizing her skills in photography and lighting to aid in her subject matter. Her work both bridges and blurs the two mediums: the high-contrast paintings are cinematic and bold, while their subjects’ surroundings—which often include elaborately patterned fabrics—are studies in abstraction. Based on the artist’s own photographs, the images are gravitating for their moodiness and the subjects’ emotive poses. Adams has exhibited in many cities throughout the US, including Providence, RI, Cincinnati, OH, Charlottesville, VA, Philadelphia, PA, and San Francisco, CA, and her work has been featured in several publications, including New American Paintings.
John Dane Bianchi, Brooklyn, NY, explores themes of decomposition and transformation in his Dislocation Point series. Working entirely in white, Bianchi, trained as a sculptor, makes his wall-based relief panels using acrylic and white spray paint. These materials uniquely erode the underlying foam boards, creating highly textured surfaces that remind of geological forms and topographical gradations. While the relief panels include elements of both painting and sculpture, the series also includes works that are more exclusively sculptural, although they incorporate elements of painting as well. Bianchi’s assemblages of composite-wood pieces create glacier-like forms that twist and fold over themselves. By applying white paint to the surface that is then sanded off, the artist leaves behind gradations in color, which call to mind the transformational nature of the artist’s process. Bianchi attended the Parsons School of Design from 1998-2000 and earned a BFA from Cooper Union in 2003. He later received a MFA from Yale University. He has exhibited extensively in New York City and Brooklyn, as well as in Los Angeles, and he recently participated in a group show at David Zwirner Gallery.
Gregory Hayes, Brooklyn, NY, in his Mergence Series, explores mark making and the fluidity—physically and theoretically—of paint as a medium. Within a grid of ¼ inch squares, Hayes employs unique tools to apply drips of paint to the surface. The shape and form of each drip yields unexpected variation. Herein lies the central push-and-pull of Hayes’s work. In spite of the exactness of the underlying grid, each mark is unique and uncontrollable. The works’ overall coolness of mood thus owes more to the depth of artistic intrigue than to the works’ minimalist aesthetic. Indeed, Hayes’s works are decidedly self-aware: each drip of paint at once references the history mark making, and the immediacy, spontaneity and complexity of paint as a medium. Hayes is represented by Nancy Margolis Gallery and has exhibited in renowned institutions throughout the United States including Boulder Museum of Contemporary Art, Rocky Mountain College, SCOPE Basel, Art Wynwood, SCOPE Miami, and with the College Art Association (CAA) New York. He has also been featured in numerous publications, including the Brooklyn Downtown Star, the Denver Post, the Huffington Post and Art Fag City. Hayes received a BFA in painting from the Mountain College of Art + Design, Lakewood, CO, and an MFA in painting from the City University of New York, Brooklyn College.
Michelle Hinebrook, Brooklyn, NY, studies geometric scintillation patters in her intricate works on paper. A student of crystallography, Hinebrook creates embossed paper works replete with kaleidoscopic patterns of cutouts and punctures in order to explore the effects of white light as it passes through faceted forms. The artist’s interest in light, visual perception, geometry and natural patterns also emerge in her mixed-medium acrylic-on-paper works. These paintings’ forms—some containing undulating webs, others, amoeba-like formations—like Hinebrook’s embossed paper works, are not intended to represent anything in particular, but rather to inspire the viewer to contemplate the infinite and the mysterious nature of space, shapes, and science. Hinebrook received a BFA from the College for Creative Studies, Detroit, MI, and an MFA from the Cranbrook Academy of Art, Bloomfield Hills, MI. She has exhibited in cities internationally, including in Los Angeles, CA, Birmingham, MI, and Copenhagen, Denmark. Her works have been featured in over 50 group exhibitions, 18 solo shows and are also included several public and corporate collections. Currently, she is a resident artist at XO Projects in Brooklyn and an Assistant Professor at Pratt Institute.
Rachel Garrard, New York and London, uses ground seashells as pigment for her Star Dust Etching series, rendered on large, black cotton rags. Studying the movement of the night sky and the geometry of the celestial planes, the artist has used true geometric proportions to create her own interpretative drawings of the three astronomical planes: the Solar System, the Milky Way and the Celestial Dome. The artist’s etching process is multi-layered: the images are rendered in wax on steel plates and later transcribed using a complex printing and embossing process. The works are, in part, inspired by the artist’s residency in South America, where she met The Kogi tribe of Sierra Nevada, Columbia: The Kogi elders collect and grind seashells into a powder; this so-called ‘star dust’ is then eaten, a spiritual practice that is believed to enable the elders of the tribe to commune with ‘Aluna,’ the celestial realms. Garrard earned a BFA from Central Saint Martins College of Art and Design, London, and a post-graduate diploma from Byam Shaw School of Art, London. She has exhibited in cities internationally, including in Santa Monica, CA, New York, London and Berlin.
Steve Yancar, Brooklyn, NY, and Miami, FL, approaches his graphite-and-vinyl-on-paper works from the perspective of a filmmaker, focusing on the ideas of time and perception, both literally and abstractly. The works are a result of meticulous film research and labor-intensive rendering. Specifically, Yancar researches his subjects by watching films and, at random moments, taking photographs of the television screen as the films play. The artist then pulls from an extensive collection of these low quality photographs to recreate cinematic scenes on paper. The multi-layered history these scenes—a moment in reality, captured on camera, displayed on a television, photographed on a camera, viewed as a computer file, printed out and then drawn with graphite—allows for a natural process of distortion and bending of time throughout the images’ transcription. The surreal and seemingly incongruous images that result leave viewers to unravel the scenes on their own. Yancar earned a BFA from the University of South Florida in 2012 and an MFA from Brooklyn College in 2014 and has frequently exhibited in New York and Florida.
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