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Email Page12.16.06
December 16, 2006- December 21, 2006
Reception: December 16, 6:00 pm - 8:00 pm
Roger Carmona, Joseph Ellis, Rachel Frontino, Tatiana Kantorowicz, Sasha Nathwani, Min Park, Juan A. Pelaez, Kenny Rivero, Raimundo Rubio
I-20 Gallery
557 W 23rd StWe are pleased to present a group show, "12.16.06", organized by artist Juan A. Pelaez. The exhibition includes eight painters, one filmmaker and a video artist.
It is impossible to sum up a group of artists in a single press release without leaving something unsaid. Especially a group as diverse as the one presented before you. They come from all spectrums of life yet share their passions through paint and art. These artists are loosely connected in their search for a visual vocabulary, an exploration of illusion, a reaction to history or culture and an unmistakable introspection of themselves through art.
The artists included in the exhibition are:
Roger Carmona
Joseph Ellis
Rachel Frontino
Tatiana Kantorowicz
Sasha Nathwani
Min Park
Juan A. Pelaez
Kenny Rivero
Raimundo Rubio
Please join us for this special event. Doors will close at 10:00 pm
For further information, please contact Juan A. Pelaez at 646-382-8348 or juanpelaez@mac.com
Roger Carmona
My work concentrates on the exploration of cultures. The work carries an anthropological abstraction that allows me to investigate the various forms, colors and verbs that belong to specific cultures. The paintings, drawings, and installations are documentations. Each piece can be drastically different from one another; as a result I currently do not have an interest in working in series. This is intentional so the viewer can acknowledge the pieces as individual studies of iconography within a culture. Therefore, it is very important to see the work as a body with individuals that support the formation of that body. Giving each form, mark, color, line, dimension of surface, and plastic surface an identity allows me to present the detailed investigation I have carried out. This process gives the work a narrative quality, where I am the playwright.
Joseph Ellis
Painting is a language with which one speaks transcending time, across cultures, class or intelligence. In my work I am interested in the gut reaction of the viewer or their ability to connect form into a narrative or personal interpretation. Each work references the vocabulary and history of painting. Through this investigation I hope to consume my influences, to pick up where they left off and to find what brings painting into contemporary consciousness. I believe painting has the ability to change the world, to raise awareness of the time in which we exist and to go beyond the limitations of language. The most significant issue addressed in my work is that of duality, contrast and opposing elements. Each work is created similarly to that of a conversation, meaning that each work contains elements of clarity, confusion, contentment, desperation and possibility.
Peter Fox
I use applicators and optically active paints to make 'Process' paintings. The colors flow over the supports to produce swirls, stripes and moires, with gravity as a generator of internal logic and source of expressive language. The reductive, distanced process ultimately inverts itself in tactile immediacy and expansive presence.
I use the intermingled drips that fall from the Process pieces to make drawings. These assisted accidents appear as both random artifacts and intentional narratives, with their objective physicality contradicted by the implications of a psychological interior.
I explore tensions created between object and illusion, transparency and opacity, meaning and the deferral of meaning.
Rachel Frontino
I often grow nervous when I realize I might have to explain to someone what they are seeing in my paintings. I become shy because I know what I see will not be what an observer might see. Then I have to remember that that is why painting is so dynamic and exciting. What could be a fantasy landscape, construed architecture, and a relationship of colors and textures to me will probably feel different to another person. The part where they feel is what I like to understand, their perspective and reaction to my own personal thoughts. Linguistics and the visual share a strong relationship but they tend to be like two different realms of space. Connected as a whole yet moving separately as two units. The visual is causing language to critique, observe and then deliver a message. There is a point where the visual is already speaking louder than the spoken language. These thoughts remind me that I am more apt to observe than engage in a fully detailed conversation about my work. And sometimes I get tired of trying to push an explanation, when in reality I know it's not the real thing. Words will never replace the paint I put on a surface. A lingual explanation is not necessary to be heard so why force something that doesn't need forcing.
Tatiana Kantorowicz
Life, change… in Progress Is collaboration between Filmmaker Tatianna Kantorowicz and Sound Designer Tom Sedgwick. Inspired by an exhibition by the Artist Tino Seghal at the Institute of Contemporary Arts in London in 2005.
Life, Change… in Progress explores the different stages of life from the innocence of youth to an old age. In 4 one-minute videos it uses one constant sound to represent the human soul and images to represent the changing minds and bodies. It goes through different stages of life beginning with the innocence of youth to old age questioning unity between humans and the meaning of progress in life.
Sasha Nathwani
Lost On The Map is a partly autobiographical story, which follows a young boy through his formative years as his dreams and fantasies come alive through the lens of iconic Hollywood pictures. Screening at 6.30pm, 8.00pm & 9.30pm. Length: 25 minutes. Dir. Sasha Nathwani, DP. Zac Nicholson, starring Mick De Lint, Meghan Miller, Martha Danielle, Adam Magboul, Rebecca Blaich, Elisa Delgado-Tomei, Chapin Springer, Amanda Long, Andy Gershenzon and Nicholas Gutierrez.
Min Park
Art is a form of communication, which manifests different tensions between perception, its expression and one's intuitive creativity. My recent work involves an art making that derives from the embedded emotions of such tensions. Recognizing sensibility towards defects and flaws of my recollections is utterly fascinating. I have taken interest in how to awaken and accumulate vocabularies that lie within the blurry line between imagination and reality. Massive as the universe yet so microscopic, sharp as a needle yet dull as a cotton ball, I'm less interested in one clear image of my visions, but desperate for what moves on, continuously developing on its exposition.
Juan A. Pelaez
My work revolves around the female figure, it's a reaction to my to my emotions and it is packed with violence. The purpose is not to disregard or label woman but to represent the frustration and mixed emotions that revolve around them. it is important to emphasize that the works are not meant to be seen as pessimistic but rather as a description of the my love and impotence around them. The use of bright colors thick paint and expressionistic brush strokes help me depict, the tension in this complex relationship between man and woman.
Kenny Rivero
It is very important for me to continue building my visual vocabulary. The idea that one or many things can be shown in a variety of different ways is something that interests me. My goal is not to have skill for making art, but rather to use the knowledge I that I have to execute every idea whether or not the knowledge is art related. The body of work I've been building has not been motivated by a specific idea. The important thing is to think about my ideas while I keep my hands moving as oppose to forcing my ideas onto what my hands can do. I trust that the things I create will always carry the messages and themes that I am passionate about. My work has been about reevaluating my life and how I fit in it. I am interested in exploring my role as a Dominican / Dominican American / American. The culture/cultures I've been participating in is the vehicle for the narrative in my work. The issue of plasticity in my work has always been important. How are the objects that I am working with built, how heavy are they, how does paint affect its surface, what can surface be, where does surface come from, can this become an object or is it just a surface, and how much or how little can the physicality of this object be manipulated.
Raimundo Rubio
Overall, my artistic project seeks to bring together two opposing aesthetic movements in contemporary American art: Action Painting and Pop Art. My goal is to channel the implosive energy of Jackson Pollock's Action Painting into the more contained but brighter flat surfaces of Pop Art. While maintaining the flat bright colors of Pop, I want to free its surfaces through the arbitrariness and compositional randomness commonly associated with Action Painting. Within this general context, my most current work gets slightly away from Pop Art—for example, it eliminates Pop Art's characteristic black line surrounding all shapes--to engage the metaphysical surrealism of the 1940s and 1950s. my work strives to achieve a careful balance between chaos and order; it attempts to impose a sense of formal order over chaotic matter but unlike the metaphysical surrealists by using less controlling and more casual artistic means.
Books and DVDs related to artists in this show
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I-20 Gallery was last updated: 2008-12-01
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