Carol Lefkowitz, Toru Sugita, Juan Miguel Santiago

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Untitled #178, 2012 © photo: courtesy of the artist
Solitude: China Camp, 2012 © photo: courtesy of the artist
Place of Origin, 2009 © photo: courtesy of the artist
Carol Lefkowitz, Toru Sugita, Juan Miguel Santiago
Curated by: Maria Medua

Fort Mason Center
2 Marina Boulevard, Building A
San Francisco, CA 94123
January 12th, 2013 - February 21st, 2013
Opening: January 12th, 2013 1:00 PM - 3:00 PM

Tue-Sat 10:30-5
Carol Lefkowitz, Toru Sugita, Juan Miguel Santiago, sculpture


Carol Lefkowitz, Toru Sugita, Juan Miguel Santiago

January 12 – February 21

Opening reception: Saturday, January 12, 1:00 – 3:00 p.m.

Carol Lefkowitz employs a palette of greens, atmospheric blues, earthy browns and an echo of yellow to create graphic patterns that convey rhythm and stillness. Lefkowitz’s canvases simultaneously affirm two-dimensionality while asserting painting’s potential to immerse the viewer. By modulating the levels of paint transparency and opacity, and manipulating the tonal values, Lefkowitz offers the audience what she terms, “image-less space.”

Originally from Japan, artist Toru Sugita now makes his home in the Bay Area. In this show, he presents black and white etchings of architectural elements such as bridges, buildings and utility poles as well as a series of color wood block prints of landscapes. Sugita is preoccupied with light and dark. His prints use a range of grayscale values to reproduce visual information such as distance and proximity, light and shadow, and the relationship of objects to each other. These pictorial elements allow Sugita to explore the physicality of three dimensional space.

Juan Miguel Santiago is an artist who creates works that explore notions of memory and place. For this exhibition, Santiago will present a series of ceramic sculptures entitled, “Place of Origin.” These geometric forms placed in a linear organization, present the viewer with both a façade and an interior. Santiago exploits the ability of sculpture to present visual information in the round as well as in relief to communicate the complexity of experience. Unlike utilitarian clay vessels, these pieces are, “recording time spent reflecting on architectural space and the natural world.”