Gallery Nicolai Wallner in Copenhagen recently opened a new solo exhibition by SF based Clare Rojas. From the press release: “Known for her illustrative paintings full of folk art imagery and rich storytelling, this latest body of work is contrastingly minimalist, geometric and abstract.” The show is on view through May 18th 2013.(via)
Ratio 3 in San Francisco recently opened a group show entitled Magnetic North featuring the work of Birgir Andrésson, Buck Ellison, Sigurdur Gudmundsson, Roni Horn, Ryan McGinley, Takeshi Murata, Geof Oppenheimer, Mitzi Pederson, and Christopher Williams. Through photography and sculpture each artist grapples with themes involving the natural world and the effects mankind has on planet earth. Multiple approaches are taken. Mitzi Pederson’s concrete and glitter fragment sculptures glisten as they speak of a broken environment while Sigurdur Gudmundsson’s Project for the Wind remains playful. The show is on view through May 11, 2013.
Diego Bergia (also known as LEPOS) is working on a series of animated clips in the style of a 90’s arcade game with the help of GIANT, REVOK and CES. The clips successfully merge the world of graffiti with the brash excitement of “Beat em Up” arcade games that were prominent in the 90’s such as Final Fight and Streets of Rage. Here’s to Bergia being able to make a playable version one day!
Dan Golden lives and works in Boston, MA. He is currently working on a series of watercolor paintings of paperclips manipulated by other people. The result is a an amusing photo realistic body of work that celebrates miniature monuments and the individuals who created them. In his own words: “At one point or another, practically everyone has either consciously or not turned this ubiquitous everyday object into something other than what it was intended for. Is it possible that these miniature ‘sculptures’ somehow carry with it the distinct personality of it’s creator? In many cases, I believe they do. Therefore, I feel as if these paintings are in a sense, portraits of the individuals doing the manipulating.” (via)
Carol Inez Charney is a photographer based in San Francisco. Her newest body of work is a series of images that resemble colorful abstractions. In reality the photographs are close-ups of water on windows as well as the colors that surround them. In her own words: “My current photographic series, Interior Landscape, uses natural distortions present in our everyday world—namely, moisture on windows—to evoke a painterly image that recontextualizes our everyday architectural landscape. While focusing on the minute details of these natural distortions, we enter a space of quiet contemplation, which simultaneously inspires a new kind of internal and external vision. After several years of combining painting and photography with mixed results, one very cold day in Minnesota I looked through a window completely covered in condensation out to the frosty distant landscape. I realized I could use the camera to reinterpret the world around me into a form akin to that of painting.” (via)
Elisabeth Lecourt is a multidisciplinary artist who lives and works in London. Her newest body of work is entitled Les robes geographiques in which delicate dresses are constructed out of antique maps. In her own words the series acts as “a portrait of people through their clothes, like a blue-print of their soul.” Her bio explains the importance of the female figure in her art: “Sensitivity and vulnerability are the main subjects in the work of the artist…the feminine figure is seen like the spine of her house, like an essential component of this particular world.” (via)
Rebecca Ward lives and works in Brooklyn, NY. She uses miles of colored tape to transform white exhibition spaces into dynamic rooms with vibrant intersections. The nature of the medium results in a temporary transformation and adds to the importance of in-person viewing. From her bio: “Ward frequently works with tape installations whose primary concerns are colour and space. Tape adheres to the gallery’s ceilings, walls and floors converging with the architecture. This perceptual play of colour, texture and light is set into motion by the viewer’s interaction with the work.” (via)
Adam Sorensen lives and works in Portland. His barren landscapes are litered with glowing mounds and vibrant streams set against dynamic skies. In his own words: “Landscape painting affords me a wealth of tradition and influence, and provides a platform that seems familiar and recognizable. 19th century romanticism, Japanese woodblock prints, and Abstract expressionism all factor into my works vocabulary. I work primarily in a reactive sense. A certain rock may lead to another, which in turn may lead to a specific tree. The scenes I end up composing, function as both utopian and eerily post-apocalyptic. Both of which can be seen metaphorically as social concerns in contemporary life. By inviting the viewer in visually, I ask them to recall where we have been, explore where we are now, and confront where we may be headed.”