Last year Tampa Museum of Art installed work by fashion designer Naeem Khan, including the two pieces above, Floating Flowers Fuchsia and Gold and Floating Flowers Pink and Silver.
From the museum about the work-
As part of its ongoing exhibition series exploring the intersection of art and fashion, the Tampa Museum of Art presents a series of paintings by globally renowned fashion designer Naeem Khan. Khan works independently, as well collaboratively with artist Stanley Casselman as the collective KACE, to create large-scale works inspired by his ongoing exploration of flora, light, and color. Five monumental works, comprised of paint and sequins represent Khan’s inaugural museum exhibition.
The Khan Family, steeped in the tradition of fashion and textiles for over 100 years, is renowned for their atelier in Mumbai and their luxurious couture worn by luminaries and India’s royalty. Khan arrived in New York at the age of 17, travelling to the United States with his father. A business appointment with Halston changed the course of his life as the famed designer decided on the spot that Khan would be his protégé. With Halston as his mentor, Khan became immersed in Manhattan’s art and social circles. From the atelier to Studio 54 and Andy Warhol’s Factory, Khan emerged as a designer at a pivotal moment in the 1970s where the lines between art, fashion, music, film, and celebrity were often blurred, further signifying New York City as the epicenter of creativity.
While working with Halston, Khan met Andy Warhol who frequently collaborated with Halston on his projects. Khan participated in their collaborations by drawing the flowers for their designs, specifically poppies. Warhol, like Halston, took Khan under his wing and once told the young designer, “You shouldn’t hold your pencil that way. Let me show you how to draw.” Flowers, inspired by his work and friendship with Warhol as well as the flora in his home country of India, anchor Khan’s visual language.
In 2020, painter Stanley Casselman introduced himself to Khan at one of his fashion shows and was immediately struck by the beauty and power of the designer’s work. Casselman observed that Khan’s designs could be translated into painting. Conversations lead to collaboration and today the two artists work both individually and together under the name KACE. Works, such as Jardin Chrome and Jardin d’Or, feature Khan’s elaborate sequined blooms in concert with Casselman’s gestural paint strokes. The compositions reveal the signature elements of each artists’ practice. Here, Khan’s ornate craftsmanship and Casselman’s abstract mark making unite in dazzling effect.
Khan’s solo works, Floating Flowers Pink and Silver and Floating Flowers Fuchsia and Gold, nod to his familial history with fabric, color, composition, and texture while pushing the boundaries of contemporary painting. Each flower is comprised of hundreds of sequins and beads. Delicately sewn onto silkscreen material, Khan suspends the panels one over the other, creating a sculptural quality to the paintings. Fabricated in a range of petal formations and size, Khan’s blossoms both capture and reflect light. As if suspended in space, the flowers come to life, symbolizing Khan’s creative past and his burgeoning artistic future.
It was great to see new work by Keya Tama and his partner Isolina Minjeong at Court Tree Collective in Industry City. I last saw Tama’s work in Los Angeles in 2019. The woven and ceramic pieces they have created for Defender are charming and reflect their personal backgrounds. The couple have also kept the prices low to encourage younger collectors.
From the gallery-
Court Tree Collective proudly presents “Defender”, a duo exhibition by Isolina Minjeong and Keya Tama. These two young artists work by blending the old with the new and by infusing their cultural heritage into their creations. This new body of work breathes fresh life into traditional art forms. Their work is a vibrant reflection of their identity and experiences, enriching the viewer with diverse perspectives and narratives. The title “Defender” is for upholding traditions in a modern world. The exhibition features folklore history through ceramics, paintings, and tapestries. Combining traditional art forms, while incorporating elements of pop culture brings to light the protection of the past. Exacting the moment of when history becomes relevant in both the past and future.
Playing off each other’s strengths has unified the work as something special. Not only as two artists in pursuit of creating together, but in working in the present to bring a unique perspective on art history.
“Defender” is an exhibition of their collaborative language. Through tapestries, paintings, muralism, and ceramic sculptures, Keya and Isolina protect each other’s hearts. This is their first duo exhibition in New York.
There are many little stories within Sascha Mallon’s lovely installation for Wolf Tales, on view at Kentler International Drawing Space. It includes sculptures and drawings, with pieces emerging from the walls. Each little section captures the imagination.
The press release below includes a poem by Erich Fried, as well as a more detailed discussion on the artist’s motivations and process.
WOLF TALES
“It is madness
says reason
It is what it is
says love
It is unhappiness
says caution
It is nothing but pain
says fear
It has no future
says insight
It is what it is
says love
It is ridiculous
says pride
It is foolish
says caution
It is impossible
says experience
It is what it is
says love.”
– Erich Fried
This installation synthesizes the artist’s engagement with drawing, glazed porcelain, and mohair silk crochet yarn, bringing all these elements into one monumental work that flows around the edges of the space. For Wolf Tales, Mallon is going back to her roots of drawing after being actively engaged with molding, firing, and glazing porcelain objects. In this exhibition she is primarily a draftsman on a quest, mirroring the main heroes of the story as they go through transformations. Going back to drawing in this more monumental format signifies for Mallon her long-cherished wish of making this method more dynamic, forgetting its static nature, and allowing drawings to flow.
The titular wolf is an ambivalent embodiment of spirit and energy that is at first at odds with a human presence of a girl and then goes through a series of spiritual and physical changes, inner and outer shifts. In his newly published autobiographical book, Japanese author Haruki Murakami devotes significant attention to how a narrative of a novel shifts when characters are presented indirectly versus being contemplated from within their own mind-frame. In her drawings for this exhibition, Sascha Mallon likewise changes the degree of her engagement with the heroes and heroines whom we see. Themes of belonging, sustainability, mistrust, loneliness, and connection are based on narrative points presented through figures of a human girl, a wolf, a raven, and others. Yet Mallon uses her subtle drawing skills to connect disparate parts of the narrative so that we can subconsciously see the connections and let the story unfold in our own time. The tale we see is one that stays with a viewer long after they leave the space. Drawing in motion is what this presentation underlines, tying all the elements together in one mandala directly drawn on the wall by this practicing Buddhist. The drawings are airy, frequently working with and playing with a negative space.
As do many artists, Mallon creates narratives based on issues she faces in her life, and as a Buddhist she thinks often about one’s perception of reality, how we create reality, how we can make a better world by changing the mind. She is fond of questioning rather than responding, leaving spaces for stillness and freedom for the viewers. Mallon’s body of work does not develop from project to project, it is one big story that keeps changing and transforming itself. To an observer, it is more of a conversation that she continues having with herself by visual means, artistic practice presented as a gestational thought process. You do not know where it starts and where it ends; it is fluid and dynamic.
As a story, Wolf Tales also develops on multiple planes and in multiple temporal frameworks. It is not a fairy tale, but rather an artistic representation of ideas and feelings, thinking through the poem by Erich Fried, which has occupied a special place in Mallon’s life for many years. Out of all of these narratives and feelings, she weaves characters and stories in the way that fairy tales do. There are no solutions. It’s about what is happening with our lives and our emotions, and it is complex. In the seminal analysis of fairy tale structure that Vladimir Propp published in 1927, the author outlines seven main characteristics important for a fairy tale (Zaubermärchen ): miraculous helper, miraculous spouse, miraculous adversary, miraculous task, miraculous object, miraculous power or gift, and other miraculous motives. In our time we need to emphasize the importance of miraculous, which could be understood to mean harmonious, compassionate, human.
Mallon is not a research-driven artist, as what we see on the walls is transmitted (or unearthed?) through sitting still and reflecting upon dharma talks and her work as a resident artist at The Creative Center at Mount Sinai Hospital. Working with people who have limited capacities affects Mallon, bringing an existential degree to her contemplation of humanity, anger, attachment, and suffering. A native of Austria, she studied art therapy, but ultimately developed her own intuitive technique of drawing and sculpting in order to perfect what she needed to say. This self-taught quality and a certain remoteness from the official and often overtly commercial art system creates a space for honesty, deep engagement, and compassion in Mallon’s works. Being informed by the understanding of larger and more painful experiences influences one’s ability to look at life. Mallon’s life informs her works and vice versa. Even with her patients she tries to find the healthy part and work with it.
Miraculous is an element of the drawings around us. Sascha Mallon offers to bring each of us home, just as a wolf and a girl who are tied in an ambiguous, but ultimately symbiotic relationship are able to do. What is the alternative if we turn away instead of looking into each other’s faces? Compassion is an essential part of Mallon’s work, a quality that we see less and less of in the polarized society of today’s United States. For the artist, an enemy that is initially perceived on the outside turns out to be an enemy on the inside. In this story, the lines get blurred, become vague and nonessential: you don’t know any more if it’s describing a girl or a wolf. Yet the hope of the artist is that through her heroes we are able to move toward peace rather than confrontation.
—Nina Chkareuli-Mdivani is a Georgian-American curator, writer, and researcher living in New York.
A large heart hangs in netting below the skeleton of a mysterious creature in one of Joy Curtis’s sculptures for Night Hike and Ocean Grandma at Klaus von Nichtssagend Gallery. As you walk around the sculptures you are invited to invent the story behind them. Titles like Ocean Grandma, Sympathetic/ Parasympathetic, and Future Organs, and Night Hike (Epiphytes) provide clues.
Throughout the run of the exhibition, performers activated several of the smaller wearable sculptures. These performances are currently on view on the gallery’s website and Instagram.
From the press release-
Joy Curtis’s new show of immersive textile sculptures takes on a folkloric quality, addressing ideas of evolution, environmental history, continuity, and change. Curtis sculpts with fabrics dyed to align with multiple historical traditions. These soft materials are quilted and sewn onto wire armatures, assembled to imply animal and plant forms, yet veering into abstraction.
Roots, vertebrae, leaves, and organs drape from figurative or animaloid fabric structures, creating canopies with an ambiguous narrative. Curtis hand-dyes her cloth using techniques inspired by Nigerian (Yoruba) Adire and Japanese Shibori processes, employing natural hues such as amber, ochre, iron, and indigo. Some pieces incorporate synthetic elements, such as reflective discs sewn into the works, causing visual sparks or glimmers amidst the more subdued textiles. The mixture of materials creates rich textures, as well as both reflective and absorbent variations in the light.
Some sculptures are large and hang dramatically from the ceiling, allowing the viewer to walk underneath and between them. A series of smaller works hang on the walls, actively wearable as garments. When dressed on individuals, these sculptures transform the wearer into an extension of Curtis’s formal style.
Work by Michael Loderstedt (left), Eva Pozler (center) and Lori Kella (right)
Work by Lori Kella, Maria Uhase, and Meryl Engler (right two pieces)
Lori Kella, “Mudslide and Forsythia”, 2022, Inkjet print (left) and Corrie Slawson, “Amalgam 4”, 2022 (top) and “Amalgam 3”, 2022 (bottom), Oil and screenprint on plywood
When a tree falls in a forest, we may see it as the death of the tree. It stops photosynthesizing, growing, feeding its mycorrhizal symbionts, flowering, developing fruit, dispersing seeds, taking in carbon dioxide, and producing oxygen. But in the ecosystem, it begins a whole new life in decay. It feeds the soil and microbes through the decomposition of its tissues; it provides a place for fungi, mosses, and lichens to grow; and it becomes a protected habitat for a myriad of insects, mammals, and birds. This same tree, therefore, can be both dying and living at the same time, depending on perspective. It can be dead if considered separate from its surroundings, or it can be alive in its continued relationship within its ecosystem.
Humans can feel more alive by being integrated with the rest of the natural world. We are not living to our full potential, or allowing nature to be its full potential, when we consider ourselves as separate from it.
If we are to have hope for solving the complex environmental issues that are facing us today, we need to work with, rather than against, the forces of nature.
Below are a few more selections.
Ron Shelton, “Yellow Mosaic”, 2021, Plastic and wire
Ariel Bowman, “Wall Trophy Series”, 2019, (Cave Bear, Antique Bison, Early Horse, Saber Cat, Dodo, Brontotherium, Parasaurolophus), Unglazed, high fired porcelain; Maria Uhase, “Splitting Headache”, 2022 Ink on paper and “Softly”, 2023, Graphite on paper
Benjamin Lambert, “A pint for a gallon”, 2020 and “I Found Your Damn Lost Shaker of Salt”, 2020, Stoneware, underglaze, glaze, epoxy
Corrie Slawson, “Stage Set Tapestry 1, for Feast: a ballet. Of Bats, Blue Footed Boobies, Penguins and other threatened fauna and flora. Pastoral landscape after Rubens”, 2020, Oil and mixed media on muslin
Corrie Slawson, “Stage Set Tapestry 1, for Feast: a ballet. Of Bats, Blue Footed Boobies, Penguins and other threatened fauna and flora. Pastoral landscape after Rubens” (detail)
Michael Loderstedt, “Snakehead”, 2023, “Thistles”, 2023, Cyanotypes on fabric, embroidery, fabric collage
Lori Kella, “Mayflies in the Grass”, and “Yellow Irises”, 2024, Framed inkjet prints
Maria Uhase, “Encircled”, 2023, Oil on linen panel, “Worm”,2023, Oil on linen and “Conglomeration in the Spiders’ Ghost Town”, 2020, Oil on canvas
Eva Polzer, “Gift from a Cat”, 2024, Ceramic, underglaze, velvet jewelry box, and “Gift from a Rat”, 2024, Ceramic, underglaze, petri dish
Stephen Tornero “Don’t Tell Me” Hand dyed wool, acrylic rods
Chad Troyer “Crashing Waves” (bottom) and “Calming Shores” (top) Jacquard-woven, gradating waffle weave; Cotton, linen, rayon, silk, birch
Jen P. Harris “Oscillator” (left) and “Sphinx” (right) Hand-woven cotton, canvas, gesso, and thread on wood stretcher bars//Hand-woven cotton, canvas, thread, and acrylic paint on wood stretcher bars
Etta Sandry “Pivot: Moi-même” and “Pivot: Big Squish”, Cotton and cottolin, handwoven on Jacquard loom//Cotton and wool, handwoven on Jacquard loom
There are some incredible pieces in Waffle Weave Invitational, one of the current exhibitions at Summit Artspace. A few selections are pictured, but head to the gallery’s website to see all of the work on view.
From curator Stephen Tornero (who also has work in the show)-
This show was conceived as an idea to focus on a specific structural variable of a textile, and see how many different variations artists, artisans, and craftspeople would be able to produce. While researching the development of weaving technology, a loom with the capability to create complex structures was developed around 600 CE simultaneously in different cultures. This structure could have been produced by these looms, but also could have been designed much earlier by hand-manipulation of threads by the weaver. The waffle structure is so unique in its ability to transform a textile- seemingly a two dimensional surface- into a three dimensional object that has depth as shown by many repeated square pyramidal cells. Historically, this structure was used to create a textile that would hold water in its cells for cleaning or drying, or to help insulate the body with tiny pockets of air. This structure can be modified by changing the color of the threads with which it is woven, the fiber content of those threads, or even by expanding the amount of threads used in a cell, expanding the scale.
Statements from the artists about the work pictured above (from the Summit Artspace website)-
Stephen Tornero– Don’t Tell Me– “This piece is part of a continuing study of material, color, and structure in textiles. I have been mesmerized with the “waffle weave” structure and its ability to create large, three dimensional pockets of space. This pieces experiments with the combination of the flexible, fibrous wool yarns with the rigid neon acrylic rods. These two materials are combined in a large textile in order to explore the effects that this unique weaving structure will have on these materials. This use these two opposing materials in the piece creates a dialogue between the traditional usefulness of this wool weaving and its display on the wall as a work of art.”
Chad Troyer– Crashing Waves and Calming Shores– “The gradating structure allows for the weft to float acrost the surface of the weaving for varying lengths, from half an inch to nearly the whole width. The warp is allowed to float for varying lengths, but not nearly as long as the weft. After it was taken off the loom, the weaving was stretched. Parts of it were pulled, and others were left loose, allowing the floats to be accented by the folding and tautness of the cloth. The two pieces are the same piece of cloth cut apart, however they both display a different state of being: turbulent & calm.”
Jen P. Harris– Oscillator and Sphinx– “These small weaving-painting hybrids are part of an ongoing, experimental body of work in which I am developing a heterogeneous formal language that both honors and questions histories and conventions of painting and weaving.”
Trey D. Gehring– Stacked– “Stacked follows a line of investigation by the artist into a poststructuralist analysis of language as a system of symbols that lack meaning beyond context. The piece melds the namesake with the woven structure itself creating a hyper-literal interpretation of the exhibition’s theme. However, an understanding of the theoretical underpinning is unnecessary and secondary to the enjoyment of the whimsical and humorous nature of the work.”
Etta Sandry– Pivot: Moi-même and Pivot: Big Squish- “My woven work focuses on samples that explore dimensionality in woven cloth using techniques such as multi-layer weaving, pleating, and woven structures that are elastic, self-shaping, and otherwise transformative, like the pocketed cells of waffle weave. This work creates a series of translations between the flat draft and the materiality of the cloth. Weaving is a technically binary structure: a warp thread can be either raised or lowered. When drafted, woven structure is drawn as a flat grid. Woven in multiple layers, cords, and pleats, weaving maintains its inherent binary nature but takes on a new physical dimensionality. Between the flat draft and the woven cloth, there is an unknowable material transformation that reflects the nuance, radical variation, and possibility that emerges from a seemingly set and limited system. In these works, this variation is expressed through two large waffle weave samples that test the limits of the waffle structure. Each piece weaves the same design of increasingly large waffle cells. Moi-même presents a balanced the waffle weave in which warp and weft threads of a similar weight and color draw out a subtle loosening of the structure as the size of the cells increase. In The Big Squish, the waffle structure is boldly packed, extended and distorted by colorful wool wefts.”
The Arts Annual at Creative Pinellas is always a great way to see what the artists in the area are creating. For 2023’s larger than ever edition, there is also a separate space for a video program that includes short films, theater productions, poetry readings, musical performances and more.
Below are some additional selections from the exhibition.
Reid Jenkins, “Holding Court”, Acrylic
Candace Knapp, “What the Blue Heron Sees” and “The Light Within” Acrylic on canvas
Daniel Barojas, “Future Ancestor”, Gouache, acrylic, gold leaf on canvas and “Future Ancestor #3”, Gouache and resin on paper
Rachel Stewart, “Caribbean Currents” Colored pencil, oil stick and collage on Archers archival paper; “Under a Different Sky”, Wall installation Painted relief wood construction with cooper and mixed media materials; Printing Ink and collage on rice paper
Mark Mitchell, “The BurgHive”, Acrylic on Hexagonal canvases
Sketzii,”Out of the Pink Concrete”, “Reclamando Mis Raices” and “A Señora’s Dream”, Acrylic on canvas
Steph Hargrove, “Catch You Later”, Acrylic paint, paper on canvas
Marlene Rose, “Three Bell Tower”, Sandcast glass and “Map Triptych” Sandcast glass
Heather Rippert, “Shakti” (center) and “Hawk 1, 2, and 3”, acrylic on canvas
Laurent Waldron “Road Killer”, 2023, Latex and acrylic paint, rubber tire and “Last Rodeo” 2023, Acrylic paint, wirebrush frame
At the Florida Wildlife Corridor’s gallery space Wild Space is Mickett/Stackhouse Studio’sCircle of Water, a collection of paintings, drawings, and video by artists Carol Mickett and Robert Stackhouse continuing their explorations of environmental issues. This exhibition will remain on view until 1/13/24.
Work by Mickett/Stackhouse Studio– “Mitigation Paintings: Green Shade Oak, Whale Pump, Mangrove Family, Mangrove Sea Wall, Green Swamp, Green Swamp Aqua Feeder, Whale Pump & Plankton, Shade Oak”, Watercolor on paper
About the above by the artists-
Mitigation Paintings further explore the ways in which natural resources can help to remedy and even forestall the damages of climate change. The swamps, whales and trees depicted are all “carbon sink,” in other words they absorb CO2, among their other contributions.
Work by Mickett/Stackhouse Studio at Wild Space Gallery
Jessica Caldas, “I come honouring your power (Clytemnestra)”, 2023, house linens, poly fiber fill, house patterned quilt, fabricated structures from gifted furniture, fabric wallpaper, found and embellished light fixture
Saumitra Chandratreya, “Throne”, 2022, Cyanotype on sateen, hand embroidery
Touchy/Feely at Hillsborough Community College’s Gallery 221 in Tampa has a lot of great interactive (and non-interactive work) on view. The three artists in the exhibition- Jessica Caldas, Saumitra Chandratreya, and Emiliano Settecasi– have contributed work that explores important themes while also adding an element of fun by allowing the viewer to become actively involved in the show.
The Curatorial Statement by Alyssa Miller-
Art touches you, and sometimes you get to touch it back. Challenging conventional gallery manners, Touchy/Feely encourages visitors to assume the role of participant by handling and manipulating several of the works on view. Contemporary fiber artists disrupt the long-held distinction between art and craft, blending the conceptual with the experiential in a highly tactile medium. In Touchy/Feely, artists Jessica Caldas, Saumitra Chandratreya, and Emiliano Settecasi go one step further in collapsing the space between artist and viewer, exploring themes of labor, motherhood, relationships, conscious choice, and joy through fiber art that both holds and is held.
So much of art and history is exhibited at a distance, close enough to see but never touch. Whereas engaging with the nature of textiles can be familiar, exciting, and sensational. Combinations of art and cloth have a long and fraught history within contemporary art, such as the novelty of interactive exhibitions that can become a commodity in contemporary museums. Ogled and beaten become the play spaces, tarnished and brassy the sculptures, worn and bruised the forms become overtime through the nature of interaction. Touchy/Feely aims to be a space in between museum rules and contemporary art photo-ops. Here, artists display a mix of interactive and static artwork that exemplifies intense feeling, encouraging the viewer to make decisions in real time, and submerge themselves in something they did not expect.
Ultimately, this exhibition satisfies my urge to explore, manipulate, caress, and experience art in a way not many individuals are able to do. In working behind the scenes, I am allowed to safely satisfy my interest in exploration. I will forever be grateful to the HCC Art Galleries team for their dedication to students, staff, and artists for this exhibition and the work they do year-round. I hope that visitors come away from this exhibition with a new experience, perspective, feeling, or sensation.
This exhibition closes on 10/12/23.
Jessica Caldas, “A name can be in a lot of places at once (Helen)”, 2023, house linens, crochet, fabricated structures from gifted furniture, polymer clay, yarn, polyfiber fill, fake pearls, and ceramic
Emiliano Settecasi, “Neon Green Furry Shelf”, 2023, faux fur, plywood, metal brackets; “Hand Bags (Purple)”, 2023 velvet Velour, polypropylene pellets; “Inman Ottoman”, 2023, ottoman reupholstered with vintage fabric that matches family chairs; Hand Bags (Merlot), 2023
Launched in 2006 to support the next wave of contemporary portraiture in the United States, the National Portrait Gallery’s celebrated triennial Outwin Boochever Portrait Competition is a major survey of the best American portraiture selected by internationally prominent jurors and curators. Now in its sixth edition, The Outwin: American Portraiture Today presents 42 works selected from over 2,700 entries, that foreground the vibrancy and relevance of portraiture today. In addition to paintings, photographs, drawings, and sculptures, The Outwin includes video, performance art, and textiles, highlighting the limitless possibilities of contemporary portraiture.
Open to both emerging and established artists, this year’s entrants were encouraged to submit work that moves beyond traditional definitions of portraiture, and to explore a portrait’s ability to engage with the social and political landscape of our time. The variety of media and subjects featured in the exhibition invite audiences of all backgrounds to find relation in the human experience.
Since its inception, finalists for the exhibition have been determined by a panel of jurors including three Portrait Gallery staff members and four external professionals (critics, art historians, artists). The competition is endowed by and named for Virginia Outwin Boochever (1920 – 2005) who, for 19 years, volunteered as a docent at the Portrait Gallery. Her commitment to advancing the art of portraiture is continued through the support of her children.
Below are a selection of works from the show and information about them from the museum.
Alison Elizabeth Taylor– Anthony Cuts under the Williamsburg Bridge, Morning, 2020 (pictured above)
On walks around her Brooklyn neighborhood during the COVID-19 lockdowns, Alison Elizabeth Taylor encountered the hair groomer Anthony Payne, who,with his workplace shuttered, had taken his scissors, mirror, and chair to the streets. Payne sought to financially support the Black Lives Matter movement, especially in the aftermath of George Floyd’s murder, and turned over proceeds from his donation-based haircuts to organizations advocating for social justice.
Taylor’s process, one she developed and named “marquetry hybrid,” incorporates vivid paints, inkjet prints, and the natural grains of over one hundred veneers. Marquetry, with its inlaid combination of woods, can “memorialize,” Taylor notes. She acknowledges the history of the craft, which was favored by Louis XIV (1654-1715) when he was acquiring furniture for Versailles. By giving Payne this “royal treatment,” Taylor aims to pay tribute to him.”I want him to see how much his example meant to me,” she explained.
Kira Nam Greene, “Kyung’s Gift in Pojagi (From the series “Women in Possession of Good Fortune”)”, 2019 Oil, gouache, colored pencil, and acrylic ink on canvas
Kira Nam Greene– Kyung’s Gift in Pojagi (From the series “Women in Possession of Good Fortune”), 2019
In this mixed-media work, by Kira Nam Greene, the artist Kyung Jeon faces us with relaxed self-assurance. She is carefully positioned on her couch as her long black hair falls over her orange and turquoise tunic. In the foreground, a wooden cylinder containing paint brushes reveals her medium of choice. A plate with persimmons, consumed during the harvest festival Chuseok to celebrate good fortune, brims with potential while the rest of the painting pulsates with action.
Greene situates her friend in a fantasy world that echoes Jeon’s artwork and their mutual interest in the traditional Korean fabric quilting technique of pojagi. Two rabbits, representing Jeon’s Chinese zodiac, appear to be concocting a potion. Flowers sprout as kaleidoscopic patterns envelop her. The reference to pojagi, the visible paint drips in the background painting, and the hands of the sitter- left unfinished- invoke the role of tradition, process, and exploration in artmaking.
Stuart Robertson, “Self Portrait of the Artist” from the “Out and Bad” series, 2020, Aluminum, earth, acrylic paint, enamel, paper,metallic bubble wrap, sequins, and gold foil on wood
Stuart Robertson– Self Portrait of the Artist from the Out and Bad series, 2020
“In my world, skin is high-tech, amorphous, and armored,” the artist Stuart Robertson observes. “Blackness is percussive, lustrous, flexible, and indestructible.” Self-Portrait of the Artist depicts a fragment of a man- half of his face and his upper torso-shiny and monumental. A black beard delineates his jaw, and a small gold hoop adorns his ear. Although the figure is cropped beyond recognition, the work’s title provides a clue.
Through the alternation of flat and repoussé aluminum sheets, Robertson achieves a hypnotic effect, a poignant tension playing on what he reveals or hides from us viewers. His refusal to depict his entire face or figure challenges the notion of what a portrait should be and blocks the objectification of the Black male body, so often sexualized in visual culture. Simultaneously, Robertson delivers an irrepressible, resplendent image of that body, one inspired by the aesthetics of Jamaica’s dancehall culture.
Vincent Valdez, “People of the Sun (Grandma and Grandpa Santana)”, 2019, Oil on canvas
Vincent Valdez– People of the Sun (Grandma and Grandpa Santana), 2019
An elderly couple faces us with the gentle authority that old age provides. People of the Sun (Grandma and Grandpa Santana) is a portrait of Vincent Valdez’s maternal grandparents. “My grandparents spent most of their time outside,” the artist recalled. “Grandpa spent his entire life working under the blazing Texas sun as a carpenter and yard worker, cutting lawns in the wealthy communities of San Antonio right up until he passed away. Grandma was constantly working with her hands–raising kids, washing, sewing clothes, and tending the plants in her yard.”
The Santanas are depicted in a space defined by details the artist remembers: their vintage AM radio, their plants, their homemade clothes. The bedsheet, like the Virgen de Guadalupe’s aura, signals their spiritual role in the family. This portrait connects the pair to the Indigenous and mestizo cultures of the American Southwest, including the Aztec and Maya, who honored the sun.
For more work from the exhibition, please head to page 2.
