Mar 172023

Currently at Derek Eller Gallery in NYC is Alyson Shotz: Alloys of Moonlight. The exhibition highlights her unique work which becomes more intriguing the more time you spend looking at it.

From the press release-

Featuring a monumental polychromatic steel sculpture and luminescent three-dimensional aluminum wall works, Alloys of Moonlight delves further into questions that Shotz has been exploring throughout her nearly 30-year career: how do we grasp the mysterious forces that shape the universe, and how do we reconcile observable reality with the noumenal reality of environmental phenomena? This new body of work explores the dialectic between these axes, as Shotz refines a sculptural language to visualize the unseen and the sublime forces that frame the natural world. The works in Alloys of Moonlight act as instruments by which to measure and reflect the ineffable forces of nature.

In the center of the gallery is Aphelion, a looped steel sculpture that turns and twists in ways that seem to defy nature, leading the eye in an endless serpentine path around its undulating curves. The sculpture transforms as the viewer moves around the piece, its colors shifting from gold to green to blue. Changes in light and time of day are registered by the changing colors of Aphelion’s surface, a phantom quality mirrored in the spatial nature of the work. Made of the least amount of material to hold its shape, Aphelion constitutes a delicate synthesis between positive and negative space. It is as much composed of a mesh-like steel as the air that flows through it. The form, which is born of the artist’s longstanding interest in knots and non-orientable surfaces like the Mobius Strip, is similarly fugitive and beguiling. Comparable entangled structures serve a fundamental role in the quantum-mechanical foundations of nature itself, and knot-like forms likewise have appeared as cultural signifiers throughout art history in Roman, Byzantine, Chinese, African and Islamic art.

The walls of the gallery feature a series of crumpled aluminum sheets, painted in a hazy spectrum of light-reflective mineral colors. Rather than the two-dimensional geometry of a flat plane, these pieces are spatial objects that delineate the magnitude of a prior impact. Named Alloys of Moonlight after the title of the show, each piece has a particular form, a shape that quantifies the exact nature of an individual collision. Conversely, the folding also embeds the aluminum sheets with a degree of potential energy and the suggestion of an incomplete natural process: the unfurling of a leaf or the folding of a wing. As representations or diagrams, these works define form through a negative logic—rather than creating sculptural volume through physical material, thin walls of aluminum outline the shape of an interior void. Alloys of Moonlight subverts the expectation of concrete immutability, instead using space as a sculptural medium. This language of spatial ambiguity is paralleled by the striking luminescent surfaces of the works, which are similarly variable. Like the orbits of moons around planets, each piece is in constant flux, registering changes in sunlight as well as the shifting position of the viewer. The sculptures in this exhibition exemplify the interplay between what is visible, concrete, measurable, and a more ethereal subtext that structures the natural world. Alloys of Moonlight renews and deepens Shotz’s exploration of the delicate and sublime space between these realities.

This exhibition closes 3/18/23.

Mar 092023

Lilian Thomas Burwell, “Enfolded”, 1973

Lilian Thomas Burwell, “Untitled”, c. 1980

Lilian Thomas Burwell, “Montagne”, 2012

The work above is from Lilian Thomas Burwell’s exhibition Enfolded at Berry Campbell gallery in NYC.

From the press release

Living and working  in Highland Beach, Maryland, Burwell, age 95, was recently hailed as the “Tom Brady of Artists” in the New York Times. In 2022, Burwell received Howard University’s Lifetime Achievement Award along with Betye Saar.

Lilian Thomas Burwell: Enfolded highlights the dynamic transition in Burwell’s abstract visual language from two-dimensional painterly canvases to three-dimensional sculptural forms. Burwell’s paintings from the late 1970s and early 1980s employ a distinctly bold palette and reference the natural world, featuring organic forms that abstract biotic phenomena. In 1984, Burwell literally cut into a canvas, creating a shape beyond the square. This pivotal act gave way to Burwell’s examination of form, bringing forth Burwell’s signature style of three-dimensional, painted wall sculpture. Dr. David Driskell described Burwell’s work as, “transcendental in showing stylistic diversity of earthly beauty and cosmic vision.”

This exhibition closes 3/11/23.

Mar 092023

Nic Dyer “Greedy”, 2022, acrylic, sculpey, wire, and resin on canvas

Nic Dyer “Greedy”, 2022 (detail)

Nic Dyer, “Breadcrumbs”, 2022 acrylic, paper mache, sculpey, air dry clay, pumice, garnet, powdered tire, black magnum, black mica, artificial foliage, 3D printed rocks, plastic cookies, rocks, stickers, cellophane, googly eyes, pearls, gemstones, sticks, toothpicks, feather. plastic corn, plastic crayon, wooden ladybugs, and wire on canvas


Nic Dyer, “Breadcrumbs”, 2022 (detail)

Nic Dyer “Forbidden Fruit”, 2023, acrylic, aerosol acrylic, polymer clay, and wire on canvas


Nic Dyer “Forbidden Fruit”, 2023 (detail)

Currently at Hashimoto Contemporary in NYC are Nic Dyer’s sculptural paintings for their exhibition, BREADCRUMB.

From the press release-

BREADCRUMB dives into the artists long term exploration of the act of consumption, utilizing their work to examine the role of food in our lives as well as the broader culture. The exhibition is comprised of a series of eight maximal and detailed mixed media paintings, filled with fruits and candies set within meticulously rendered landscapes. Trails of sweets guide ones eye across the canvas, while rows of three-dimensional ants march towards the scattered bounty.  From individual blades of grass to minuscule flies, each detail is painstakingly executed. Rounded fleshy apples and ripened bitten fruit tantalizingly call out to the viewer, although to what end?

For this new body of work, Dyer uses well-known narratives to explore the temptation of food. Inspired by fairytales and biblical parables such as that of Adam and Eve, Hansel and Gretel, and Little Red Riding Hood, the artist pulls from these stories, mixing and remixing elements to create deliberately ambiguous messages. Is food the reward? The cause or the effect, and how do we reconcile the two?

This exhibition closes 3/11/23.

Feb 222023

Robert Yasuda, “Boundary” 2010-2020

Robert Yasuda, “Boundary” 2010-2020 (detail)

Robert Yasuda, “Pele”, 2022

Robert Yasuda, “Pele”, 2022 (side view)

Robert Yasuda, “Maluhia”, 2022

Robert Yasuda, “Pipeline”, 2022

Currently at Sundaram Tagore gallery in New York are Robert Yasuda’s sculptural paintings for his exhibition Transparent and Translucent.

From the gallery’s press release-

The artist’s latest body of work is a culmination of his decades-long exploration of perception, light and space. On view will be a series of atmospheric paintings rooted in his early encounters with nature in Hawaii where he was born and raised.

Yasuda’s iridescent paintings are composed of translucent veil-like fields of color layered on slabs of wood that protrude from the wall or nestle into corners. Several works are constructed to cast a reflected glow of colored light into the surrounding space. Depending on where you stand, the surfaces of the paintings shift in color and temperature.

“For many people, looking at a painting for 20 seconds can be extremely long but these are pieces that reveal themselves over time,” says Yasuda, who invites viewers to pause and immerse themselves in the work in order to perceive these subtle transformations.

Yasuda begins by shaping wooden panels, which are up to two inches thick, with chisels and grinders. Softening harsh vertical lines, he introduces bowed and gently sloping edges as well as sharply upturned corners. After painting a base layer onto the wood, he wraps the wood in diaphanous cotton. Adding as many as 40 layers of pearlescent acrylic paint, he suspends the fabric amid layers of luminous color. Most of his works are multi-paneled, with intricately wrought and detailed seams, and mounted on cradle-like structures that push them away from the wall.

Several of the works on view feature aqueous expanses of rich blues and lush greens evoking the ocean. In other pieces, sensuous swathes of paint evoke sunsets or the iridescent lining of seashells. “My entire childhood I saw myriad greens in the countryside of Hawaii and I spent a great deal of time diving…These works are connected with that point of view and the process of meditating on nature,” says Yasuda.

This exhibition closes 2/25/23.