Back to the Future
March 29 - May 14, 2016
The exhibition “Back to the Future” looks back to the start of our Gallery. It brings together a wide variety of painting, sculpture, and photography by established and younger artists. Works have been selected across all approaches, styles, media and vintages.
Moon Beom’s paintings conjure a mystical world of mountains, cliffs, rivers, and forests that materialize from complex abstractions. To achieve this effect, he applies oil stick on a monochrome surface, using his hands.
Kwang Young Chun orchestrates thousands of units to produce variations of surface texture and composition. The richly evocative material he uses transcends its tradition. While imbued with Korean nostalgia, Chun’s unique constructions speak on many levels and on universal terms.
Jay Fine’s contextual views consist of New York City as his subject. He has an uncanny eye akin to Weegee of being at the right place at the right time. The works selected cover the vagaries of the weather, a sense of wonder and despair.
Shigeru Oyatani’s work combines elements of abstraction and representation, pattern and grid, surface and illusion. Upon further inspection, several layers begin to emerge, creating an almost hyper real space where the transition between dreams and reality crisscrosses brilliantly into an altogether unexpected state of awareness, a fantastic lucid dream.
Antonio Petracca’s painted constructions give the viewer a compressed perception of what is contained within the extended rectangle. The artist is interested in establishing the trace of memory as a sign, how our perceptions register the sign, and how it becomes imbedded in our memory. The work is best expressed as the tension between the representation of a site and the abstraction that evolved in the manner in which it was cropped.
Blanche Nettles Powers’ recent work was inspired by a quote by P.D. Ouspensky: “There is something in us that keeps us where we find ourselves.” The work is diaphanous, but not beautiful. The surface appears to be an even translucent layer, but in reality is comprised of hundreds of different sized strokes and markings.
E.E. Smith’s unique oil prints are stark, graphic and stylistically ambiguous. The imagery is precise and clearly points to an inevitable end. The element of chance is a factor in the work.
Jim Toia’s process lures you into a world that is seamlessly flowing and alive, but in reality are mushroom spores lying dormant on prepared paper. It is a struggle with nature that often leads to failure. In an uncanny way, the beauty of the drawings becomes almost menacing, akin to tentacles that grab you from the page.
Susan Wides manipulates reality through her camera lens. Certain objects and details loom into consciousness with sharpened clarity, as others fade and dissolve into near abstraction, a play between the material world and the subjective one.