The swirling, layered paper and acrylic sculptural pieces posted above are meticulously carved and layered by the hands of paper artist Charles Clary. The works possess a precise, graceful movement that is made even more alluring by the tart, punchy color palettes Clary selects. Going one step deeper, these colorful clusters reveal that they have roots in a slightly scientific direction.
From the artist: “I use paper to create a world of fiction that challenges the viewer to suspend disbelief and venture into my fabricated reality. By layering paper I am able to build intriguing land formations that mimic viral colonies and concentric sound waves. These strange landmasses contaminate and infect the surfaces they inhabit transforming the space into something suitable for their gestation. Towers of paper and color jut into the viewer’s space inviting playful interactions between the viewer and this conceived world. These constructions question the notion of microbial outbreaks and their similarity to the visual representation of sound waves, transforming them into something more playful and inviting.”
Olivia Locher might just be 21 years old but her photography has a level of sophistication that you don’t often see at such a young age. Creating layered and complex narratives Olivia takes us on a surreal journey where young girls are stacked in corners like dolls, marshmallows are stuffed down your pants, and pretty girls and pretty flowers are wrapped in plastic to keep them beautiful for eternity.
Keith Lemley is an American artist who builds sculptural, light-based installations that explore the crossroads between nature and technology. Featured here is “The Woods,” comprising a dimly-lit room with illuminated axes lain against chopping logs and cracked cement walls. The scene is eerie yet serene, mixing bright-light modernity with the dark, cobwebbed corners of rustic life. The lights bring a sense of warmth and presence where there is otherwise cold stillness, calling upon our own memories of the forest while also estranging them with urban glamor. In the following statement, Lemley describes his desire to transcend time and environmental boundaries:
“My work is about seeing the unseen—the invisible presence which exists in our minds and surrounds all objects, experiences, and memories. Working in my studio in rural Appalachia, I have developed a keen interest in being part of and observing natural systems, time and the process of life and death, and an aesthetic sensibility synthesizing the organic and the machine.” (Source)
Other works by Lemley similarly explore the beauty of the natural world, manifesting it beyond normative representations; “Arboreal” is a speculation on the geometry inherent in nature, whereas “Past Presence” uses light to enhance the ragged dynamism of driftwood. Lemley’s goal is to shift our perspectives on the environment, and he does so by fulfilling the adventurous spirit and infusing physical images with the resonance of personal experience. Lemley’s installations renew familiar landscapes with meaning and excitement; as he writes, “one [ultimately] walks away more self aware and delighted in everyday visual ephemera and the experience of being a living, breathing being” (Source).
I headed over to Brooklyn to check out what Ryan Schneider had cooking after not seeing his work for a year. He was painting when I got there; mixing a fleshly color on the big glass palette in the center of the room. Canvases lined the walls, some were finished and some were in progress. He paints all the nouns: people, places and things; and does so in a thoughtful way that reflects life. Still lifes which range from bathtubs to bookshelves, and landscapes which seem to suggest an alternate, more romantic reality.
The paintings are populated with figures, and he had interesting things to say about figure painting. In person, the paintings are very obviously physical. They combine juicy paint, carved-in-words, bold colors, and a funky sense of space. This makes for paintings which flip between pattern and illusion. His new paintings were confident, and maybe even more colorful and spatially complex than his previous work. Schneider recently left Priska C Juschka, his gallery of several years. Besides being a painter, Schneider is also a curator and has organized high profile group shows in locations near and far, and he was at it again. He is behind a show which just opened in Austin, at Champion Contemporary, called “Wild Beasts.” He included a group of artists who share a love of color and admiration for Matisse and the French Fauves. Read some of our discussion after the jump.
The texture on these mixed media paintings from Canadian artist James Kirkpatrick is insane. Packed with color, the artist’s nebulous, jumbled works, which contain just the slightest hint of concrete elements here and there (is that a car? –wait– is that a face, now?), exist very close to complete abstraction. This deft “one foot in, one foot out” dance is indicative of great skill on Kirkpatrick’s part. The subtlety of these paintings is really where their greatest value is. In a culture where everything is increasingly spelled out for us ahead of time, it’s nice to preserve a little bit of mystery.
Kirkpatrick is taking part in Zaga Zow, a group show at Cooper Cole in Toronto, until August 18.
Cezar Berger, a Brazil based illustrator/ graphic designer, creates these incredibly saturated, bold, and grotesque drawings. Looking through these, it makes me think of meat and candy being digested together inside a carcass of a circus clown.