NYC Art Shows- Jennifer Coates at Chart and High Noon Galleries

 Art, Art Shows by Location, Artists, New York Art Shows, Painting / Painters
Jun 222024
 

Taking place at both High Noon Gallery and Chart Gallery is Jennifer Coates’s exhibition Edge Effects. The paintings are dense with imagery that requires the viewer to take a longer look.

From the press release-

Edge Effects is an ecological term that refers to the sometimes problematic changes in biodiversity where different habitats converge. These transitional zones are called ecotones: animal/vegetable environments in flux, like ditches, forest edges, marshes and grasslands. The ecotone provides a metaphorical through line for Coates’s current paintings, in which micro-climates of imagery collide. Zones of color, marks, and depicted elements aggregate and are collaged together, creating a hybrid sense of place.

Coates uses acrylic and spray paint—synthetic chemicals—to represent the landscape, emphasizing the toxicity that now runs through most organisms. Despite this pervasive chemical presence, her paintings present an ecofeminist belief in the possibility of restoring the self through hyper connection with nature.

At the edges of shapes, halos and heightened optical effects take the viewer in and out of spatial logic. She repeatedly depicts plants that flourish in poor soil, found at edges between cultivation and wildness. These ditch weeds are ubiquitous in rural Pennsylvania where Coates works in the summer. Painting them has become a way to reconcile with invasive plant species. She anchors archetypes such as Diana, Pan, Dionysus, and the Maenads to the woodlands where she has spent much of her life, incorporating local wildlife like common birds and butterflies. The butterflies, for example, pollinate as well as “puddle”—a behavior that extracts minerals from mud, carrion, blood, and sometimes tears, signaling the edge between vitality and rot. In Coates’s paintings they also feed on the remains of Classical sculpture.

Portals appear as entrances to bunkers, caves, ruins, and passage tombs. Rocks are a new pictorial element for Coates that provide a further engagement with the materiality of paint. Structures and imagery are built up and broken down through her painterly process and go in and out of presence, at the edge of sense.

This exhibition closes 6/22/24.

NYC Art Shows- Mary Jones at High Noon Gallery

 Art, Art Shows by Location, Artists, Collage, Mixed Media, New York Art Shows, Painting / Painters, Printmaking
Apr 212023
 

“Cocteau and Table”, 2023,oil on archival inkjet printed canvas

“The Seasons Between”, 2023, oil on archival inkjet printed canvas

High Noon Gallery is currently showing Les Problémes du Confort, an exhibition of work by Mary Jones.

From the press release-

Jones began this most recent body of work, collectively called simply, “Interior Design,” by painting Sumi ink over the black and white printed pages of a comprehensive French Interior Design publication from the 1960s. “[I chose the series’ title] not only to underscore the attributes of the original images, but to address their psychological component: the topos of dreams, so notably analyzed by Gaston Bachelard and James Hillman, spaces we conjure to discover the elements of our inner lives. Homes and interiors are not only spaces we remember, but also labyrinths of symbolism, familiar to all of us as emotionally charged experiences,” she explains.

The addition of her signature mark making started as an exercise to identify patterns in the tonal pages, separate from the context of the imagery. It seemed to act as a compositional barometer of sorts, deflecting the space in certain areas and illuminating it in others. The painted catalog images were then collaged, blown up, printed on canvas, and painted again, further conflating space and gesture, and inhabiting the vacant interiors with a visible energy. In doing so, Jones satisfies the principles of high design with the paintings’ harmonic beauty, and also the open systems of fine art by positioning the work as cultural critique that challenges the colonialist motifs that permeate the aesthetic sensibility of many of the spaces.

Jones’s work has long gnawed at the malleability of subject matter. She consistently uses legible imagery to anchor her abstractions, prodding at the fickle divide between the two modalities. Her sensitivity to painting’s illusionistic properties is connected to her experience as a faux painter, freelance work she’s done for 25 years. While the object of faux painting is to not let the artist’s hand show, Jones riffs on her craft by skillfully merging gesture and image in ways that are largely indistinguishable. She allows the marks to emulate form and object, playing on the viewer’s expectations of pictorial logic and slyly addressing the disparity between fine art and design, as for many decades— and especially during painting’s theoretical heyday in the second half of the 20th century— they shared a tenuous opposition. Design is associated with expense, and American society is perpetually transfixed by the Romantic notion of the artist as a working class hero.

Ionic Memories (2023), depicts a decadent room steeped in Roman busts and columns, the title a tongue-in-cheek reference to the science of memory and the unstable nature of artistic movements and empires alike. Jones echoes the velvety matte blacks of the printed image in her direct painting gestures, mixing a near perfect replica of the tone and texture for her to set up a meta tromp-l’oeil effect. In the foreground, a collaged brush stroke swipes away at the interior revealing a snowy landscape wherein a bush and modernist cabin are obscured by a swath of pink oil paint. In the context of the whole, the landscape reads as decorative forms within the room, such as fan coral and glass spheres. Other works such as Cocteau and Table (2023) make greater use of a fragmented effect wherein decisively multiversal looking forms cut through the composition like a glimpse into a parallel reality. Through a mix of painterly and faux elements, Jones takes care to merge her augmented realities just enough to allow the viewer to believe the image exists in one picture plane.

Perhaps to be comfortable is to momentarily resist time, to be temporarily impervious to the clamors for change. In Les Problémes du Confort, Jones reminds us that the arrangements we make with ourselves are transitory, constructed illusions to describe and reflect a sense of our place in the world we know, and that improvisational beauty can be found in transitions, in languages we don’t know, and in uncertainty.

This exhibition closes 4/23/23.