Wednesday, February 12, 2014

Josh Podoll: paintings

Josh Podoll "A Color that Does Not Exist" 2012
acrylic paint, oil paint on canvas, 30 x 24”
Josh Podoll's most recent paintings are swirling and expanding atmospheres populated with a jumble of simple shapes and masses of various colors, densities and textures. Loosely formed, each floats as a mutable thing with irregular edges within the confines of the white canvas in much the way I imagine a mass of soup without a bowl would float in outer space—part animation, part science. Space generally opens towards the top of the canvas and a sense of weight or heaviness occurs at the bottom, yet there is no ground. Podoll's palette is limited and nears monochrome yet there are enough distinctions to move the push and pull over to micro macro. The more solidified shapes and masses moving through the splashes, bursts and gushes of the soup seem to be navigating under the playful intelligence of air traffic control. And every now and then I catch a glimpse of one of these paintings and it feels like a head full of thoughts.

Excerpt from the Feature Inc press release - September 5 – October 7 2012.

Josh Podoll "Untitled" 2010, acrylic paint on canvas, 58 x 78”

Wednesday, February 5, 2014

Angelina Gualdoni - Held in Place, Light in Hand

Angelina Gualdoni
Rooms, 2013
Oil and acrylic on canvas
47" x 52"

Based on suggestions of interiors and still life, each painting distinctively uses geometric patterns, often fragmented, that weave through the picture plane and juxtapose the ethereal washes of color. Often using collage and digitally manipulated photos taken by the artist as her starting point, Gualdoni continues her interest in the deconstruction of space alongside familiar concerns such as the existence of shape as a void in shadow, the tension of positive and negative, and absence and presence of quasi-identifiable objects. Plant leaves echo triangular shapes elsewhere, film noir-striped shadows glow from an unseen venetian blind, and always a limpid pool of glorious color overwhelms any clear sense of “here” or “there.”

Sunday, October 7, 2012

Hayal Pozanti – Co-Real

Hayal Pozanti
The Minty Rose, 2012
Acrylic on wood
73 x 47 inches

Pozanti's abstract fields are derived from an intensive process of meticulous brushwork that attempts to arrive at what the artist describes as “shapes that have not existed before.” In this, Pozanti mines the legacy of American artist and theorist, Frederick Kiesler, who argued that geometric forms are “the trading posts of visible and invisible forces.” Perceived reality is defined by this continual interaction and he termed the exchange “co-reality.”

Excerpt from the Jessica Silverman Gallery Press Release - February 10 - March 17, 2012.

Monday, June 4, 2012

Vadis Turner

 Vadis Turner
Red Candy and Black Mold, 2011
Ribbon, clothing, antique quilts, vintage gloves, mixed media
60 x 60 x 5"

Vadis Turner
Mold Nest, 2011
Clothing, ribbon, yarn, wool sweater, jump rope, mixed media
20 x 14 x 9"

Ms. Turner’s work is an intersection where color theory, abstraction, assemblage and feminism meet head on. The artist’s innate color sensibilities and energy pay homage to the New York School of Abstract Expressionist and Action painters like Joan Mitchell and Willem De Kooning, by employing broad strokes of color. Through Ms. Turner’s exquisite and unique use of materials such as ribbon, clothing, antique quilts, lace and yarn, the artist continues to explore and exploit traditional “feminine” materials and creates a contemporary dialogue as found in the works of artists such as Petah Coyne and Shinique Smith.

Excerpt from the Lions Wier Gallery Press Release April 7 - May 7, 2011

Vadis Turner website

Thursday, March 8, 2012

Ryan Sluggett
Installation View
Richard Telles Fine Art

Ryan Sluggett
Developer Bath, 2012
Fabric dye, tempera, acrylic and oil, on fabric in artist frame
109 x 76.5 inches

Ryan Sluggett’s new paintings evince his ongoing investigation of the language of painting that blends narrative and abstraction, delaying apprehension while teasing it forward with his lush paint handling, stitched fabrics, and framing. His use of enormous scale further attenuates this process, which ultimately amounts to depictions of daily life gone askew...

Excerpt from the Richard Telles Fine Art Press Release January 21 – February 25, 2012.

Monday, February 13, 2012

Laura Letinsky

Laura Letinsky
Untitled #29, from the series III Form and Void Full

Recently, Letinsky’s studio-based practice has evolved in a new direction that incorporates photographs — from magazines as well as her own and others — to make images that play with the perception of space in her still-life compositions. Actual objects, such as papaya, cherry pits, silverware, and ripped paper, along with images taken from art reproductions as well as decor and cooking magazines, are carefully arranged, resulting in a disorienting collage within the photograph

Excerpt from Museum of Contemporary Art Exhibition, February7 - April 17, 2012.

Represented by Yancey Richardson Gallery in New York and Valerie Carberry Gallery in Chicago.

Monday, January 16, 2012

Nathan Mabry

Nathan Mabry
The Week of Kindness, 2011
Bronze, powder coated aluminum, paint
111.75 x 63 x 28 inches

Nathan Mabry’s work transforms the known into the new and the unexpected. Mabry engages with both art history and normative objects as readymades. A Duchampian trajectory is balanced by an art-making urge that springs from other early Modernists such as Brancusi, Lipchitz and Picasso, whose visual avarice led them to a range of “exotic” cultural material in an effort to create their own visual language.

Excerpt from the Cherry and Martin website.