Saturday, August 31, 2013

Reliquary In The Shape Of An Arm

Reliquary in the Shape of an Arm
silver sheets on wood, cabochons, and glass
North French
made about 1200 - 1250

As reliquaries house fragments of saints' bodies, they sometimes reflect the shape of a limb. This blessing arm contains a relic of Saint Fiacre, as indicated by the partial Latin inscription. Famous for healing the sick, Fiacre, of Irish origin, died near Meaux, France, in the seventh century, and the city was the focus of his cult until the french Revolution. This lifesize reliquary made the idea of the saint's presence particularly vivid.

*on view @ The Metropolitan Museum of Art

Wednesday, August 28, 2013

Invisible Realms @ The Westmont Ridley-Tree Museum of Art

Invisible Realms: Encountering the Sacred
Opening reception: August 29, 4 - 6 PM
August 22 - October 12, 2013

Featuring work by: 
Lynn Aldrich, Fabian Astore, Adam Belt, Kent Anderson Butler, Linda Ekstrom, Hadassa Goldvicht, Mary Heebner, Father Bill Moore, Linda Saccoccio, Susan Savage, Marie Schoeff, Duncan Simcoe, and Michael Tracy

955 La Paz Road
Santa Barbara, CA 93108

Tuesday, August 27, 2013

Now You See It, Now You Don't @ Terrace Studios And Gallery

Very happy to have work included in this annual exhibition.

Now You See It, Now You Don't : The Terrace Eighth Annual Open 2013
Curated by Karl Bielik
Opening: Saturday August, 31st, 3 - 7 PM
Terrace Studios and Gallery
4-17 Frederick Terrace
London E8

In Process: Karl Bielik

Karl Bielik in his London studio, 2013

Today's In Process post features, London based abstract painter, Karl Bielik.
I first became aware of Bielik's poetic, muscular brand of abstraction in 2011 and have followed his work closely ever since.

In December of 2011 I participated in an exhibition (Done Paint Done) in London curated by Bielik and was able to visit his studio. You can view that post here.

Here Bielik documents the development of a large work that eventually becomes Tumble - completed in 2013. This is an exceptional opportunity to view the artist's hand and mind at work through each twist and turn of alternately minute or sweeping, painterly, workings and revisions.

About the artist:

Working on a multitude of paintings at a time, Karl Bielik's brew of abstractions are developed in batches. 
Irregular canvases cover his studio walls and floors, where he shifts from one painting to another, experimenting playfully with mark making. 
Formal lines taken from photographs and diagrams contrast loose oily wounds, thick emulsions offset light glazes and dribbles. In contrast to this emotive imagery, banal solitary words form Bielik's titles, tempering and balancing the melancholy character of his paintings.
His work has been in numerous shows at home and abroad, most notably The Marmite, Creekside and Lexmark Art Prizes in the U.K.



Tumble, 2013, oil on canvas, 165 x 85 cm.

Studio view with Tumble, 2013

Opportunities to see Bielik's work on display include:

PART THREE: Oblique Exchange
27th September - 20th October 2013

Form/Function curated by Lisa Denyer at Piccadilly Place, Manchester M1 3BN 
Runs till 22.09.13

Now you see it, now you don't, The 8th Terrace Annual Open, London. PV 31.08.13

*All images curtesy of the artist. ©Karl Bielik

Saturday, August 24, 2013

Simultaneity @ Flecker Gallery

(click to enlarge)

SUNY Suffolk, Ammerman Campus
533 College Road
Southampton Bldg. 2nd Floor
Selden, NY 11784

Friday, August 23, 2013

Meta Vista @ 16 Wilson (Formerly Storefront Bushwick)

(click to enlarge)

Very happy to be included in this exhibition curated by Matthew Neil Gehring and hosted by Deborah Brown.

October 18 - November 9, 2013
opening reception: Friday October 18, 6 - 9 PM
16 Wilson, Brooklyn, NY (formerly Storefront Bushwick)

Artists: Rachel Beach, Paul Behnke, Vincent Como, Matthew Neil Gehring, Beth Gilfilen, Jason Karolak, Joan Mellon, Rebecca Murtaugh and Kirk Stoller

David Rhodes @ Hionas Gallery

Untitled (2013), acrylic on raw canvas, 20 x 19 in.

David Rhodes: Schwarzwälde
September 8 - October 13, 2013
Opening reception: Sunday, September 8, 6 - 8 PM
124 Forsyth Street
New York, NY 10002

*image courtesy of the artist and Hionas Gallery

Thursday, August 22, 2013

Studio Visit With Jordan Broadworth

Yesterday, I had the opportunity to visit the Long Island City studio of Canadian born, New York based painter, Jordan Broadworth.
Broadworth's layred, evocative pieces present multiple takes on the figure / ground relationship as isolated segments blur or refine depths of field. The focus is constantly shifted between planes and layers, the hard edge and the liltingly biomorphic. The employed grid combines with a metaphysical openness to lull viewers  into a techno trance and jolt them back out again. The resulting paintings are grand, superb hybrids of our increasingly digital environment and a more expansive, human reservoir that we seek even as we leave it behind.

Broadworth in his studio, Long Island City, 2013

From the artist's statement:

Paintings lead double lives nowadays. Every flesh and blood work spawns a pixilated and highly itinerate twin. How we read and interpret paintings has changes through the experience of viewing work on-line. Serving as a control group for immediate experience is one of paintings most important and enduring functions. Painting has always demanded the one-on-one physical encounter. But the much more social backlit proxy has its own unique glow as it moves from screen to screen. Like many of us, some paintings simply look cooler on-line. My work functions in the gap between the immediate and the mediated – informed by displacement as much as by the corporeal and material.

My paintings are the end result of a pre-determined series of actions; each action occupies a separate layer and is assigned a specific color. Layers may contain geometric shapes, a variety of grids or a tightly packed gesture. The disjuncture between the way that time is held in the making and subsequent viewing of a painting is a central concern. The drying time left between layers is as critical as the painting of each layer. The content and assembly varies from work to work but the final stage is always the same; layers are compressed and time is collapsed as I draw a blade across the surface. The result is a smooth, uniform surface and a leveling between figure and ground, gesture and structure, chance and intention.

To view Jordan Broadworth's work in person check out his upcoming show of new work:

Opening: September 19, 5 - 8 PM
September 18 - October 12, 2013
6341 Boilevard St-Laurent
Montréal, QC H2S 3C3