Landscape artist, Sarah Winkler, sums up our spiritual need for the wilderness in Making Art’s newly released film, ‘Moment.’
“We need the experience of being romantically and poetically lost in the wilderness, and being found again”
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Landscape artist, Sarah Winkler, sums up our spiritual need for the wilderness in Making Art’s newly released film, ‘Moment.’
“We need the experience of being romantically and poetically lost in the wilderness, and being found again”
How To Live In Los Angeles is an exhibition of fifteen new paintings by London-based artist, Laurence Jones, that focus on psychologi-cal space, and play with ideas of narrative and the cinematic in art.
The paintings, derived from first and second-hand photographic images of Los Angeles, combine reimagined modernist interiors and intense vibrant hues, blurring the boundaries between real and imaginary. Silent swimming pools and silhouetted palm fronds dominate the landscape, and the dazzling rays of a simulated sunset threaten to overwhelm us.
Jones’s work, of great formal elegance and technical mastery, asks questions about how one reads and consumes images, and how one makes them in the era dominated by photographic representation.
A signed print publication with full colour reproductions of all work in the show will accompany the exhibition.
Please join us at the Rebecca Hossack Art Gallery, 2a Conway Street, Fitzroy Square, London, W1T 6BA.
Laurence Jones: How to Live in Los Angeles 1 October - 2 November 2019
I love to place the human figure in vast, colorful semi-abstract landscapes. In some works, my figures are depicted outlines that have been filled in with various colors and shapes - as if the human form is a 'container' - of emotions, thoughts, and memories. In other works, there is a more realistic representation of the human form, yet a dreamlike atmosphere most often still pervades. The human condition - its isolated sense of being - is a central theme in my work, and stems from my own experience as a Diaspora Greek, in limbo between two cultures, always seeking a place to call home. "It is important to recognize the natural need of a human being to find a place to belong to; a place where one can find peace."
Chrys Roboras was born in Sydney, Australia. Coming to Athens she studied at Middlesex University, achieving a Bachelor of Fine Arts & Technology with First Class Honors. She has had 11 solo exhibitions; in Athens, Paros, New York, Toronto, London, Lugano, and Los Angeles.
Chrys has participated in Art Athina, Revolution Art Fair, Parallax Art Fair, Biennale of Chianciano, Biennale of Beijing, Biennale of Santorini, Scope Art Fair, Emerging Artist Award-Dubai, Art Takes Paris, The Artist Project and The Other Art Fair by Saatchi. Chrys’s work has achieved awards in various exhibitions.
Her work has been featured on music book covers, in the book «International Contemporary Masters Volume 5», Hidden Treasures Art 2014, ArtTakes Miami 2012, 2014, 2015, Serendipity Magazine "stories from the fringe" 2013 and made the shortlist for the Emerging Artist Award Dubai 2016.
Chrys has also won the feature in the Artist Portfolio magazine.
She has participated in over 50 group exhibitions in Greece and abroad.
Her work is found at the Museum of Fine Arts in Las Vegas and in many private collections in Greece and abroad. Chrys was also an invited Guest Speaker for UnfodingArt North Carolina, USA.
Haevan Lee (b.1990, Republic of Korea) expresses the regional context of specific places through various forms including painting, installation, video, and collaborations in other media. DMZ Landscape Series turns restricted or photography-prohibited areas into paintings. The artist has created painting-sculptures by superimposing the layers of landscapes that she experienced while staying at Peace Culture Bunker, an anti-tank defense shelter built after armed North Korean guerillas invaded Seoul, South Korea in January 1968, and presented the works in the exhibition Goliaths, Tanks (2018, Seoul). She is planning and producing DOPA, a collaborative project with contemporary artists, and currently contributes to various exhibitions including those at Buk-Seoul Museum of Art and SeMA storage, and her work is in the collection of MMCA((National Museum of Modern and Contemporary Art, Korea)Government Art Bank.
Haevan Lee has arranged indications, situations, and apparatus for guessing the aftermath inside peaceful-looking sceneries to reveal a reality of psychological anxieties in the divided Korean peninsula. The artist, who was born in Dongsong area in Cheorwon, Gangwon-do near the DMZ and has always had a curiosity for unknown, unnamed spaces, explores them by either keeping a distance from the view as an observer or mingling within the distances in fantasy.
‘Goliaths, Tanks’ by Haevan Lee is an amalgamation of her paintings and objects weaved together in her site-specific installations and multi-media projections, accompanied by performance pieces. The movement in each object resonating with the sound of ticking clocks serenely draws out the muted anxiety underlying the division of Korean peninsula following the war in the 1950s. The ensemble takes place at the Peace Culture Bunker at the Northern end of Seoul, which was originally built in the late 1960s as a barricade to cut off North Korean ground forces, recently transformed into an art space. The artist embodies the remnants and residues of the space into her entire exhibition, deliberately placing objects along the artillery halls looking out to grass yards where rusty old tanks sit as gravestones.
Jessie is an Australian artist who is based in Austria. She is deeply inspired by the natural world, with a focus on mountain landscapes and nature. The constantly changing light, moods, seasons in the mountains offer a constant stream of inspiration. Jessie feels strongly connected to the mountainous landscape and her artworks are influenced by what she sees in connection to what she feels. A painter of light and shadow, she conveys an impression or a mood, bringing an impression of the true soul of the mountains to everyone. Time is symbolized in her current works in the form of birds.
Her current works are painted/drawn on un-stretched canvas predominantly, that she deliberately crumples to add texture, which is an important part of the finished artwork. Giving them a natural and free look without constraints. Using various mediums such as graphite, charcoal, ink, and acrylic combining both painting and drawing techniques to build up the artworks in layers, trying to achieve a sense of depth and translucency in her artworks.
Lindsay is a contemporary artist, textile designer, and graphic designer, originally from Lee's Summit, Missouri but currently residing in Western Colorado. She works in a variety of media including drawing, painting, digital art, sculptural constructions, and installations. Lindsay’s work reflects on ideas of landscapes and environments that are built, altered, shaped, and manipulated, while using playful patterns and abstracted imagery. When she is not working, she is doing her best to spend as much time outside as possible, including camping, exploring remote lands, mountain biking in the desert, and racing cyclocross.
“The word landscape itself becomes problematic: landscape describes the natural world as an aesthetic phenomenon, a department of visual representation. A landscape is scenery, scenery is stage decoration, and stage decorations are static backdrops for human drama.”
Abstracting images from architecture and landscape, I create drawings, small sculptures, and installations out of materials such as paper, collage, and balsa wood. My work is the result of my observations of the landscape: the rural, the urban, the exquisite, the boring, the natural, the unnatural, etc. I find myself both in awe of, as well as disturbed by, the way that we build, and transform our environments and believe that humanity will always be trying to figure out how to negotiate our life in this shared environment.
This collection of drawings uses imagery from the Western Colorado and Utah deserts, whose environments I find to be valuable because of their lack of human development. I use hand-drawn elements and abstracted symbols to represent these ideas of culture, and environment that I myself am always trying to process.
Booth Gallery is proud to present The Stranger, a debut solo exhibition by Alex Merritt, on view May 17 - June 12, 2019, at 325 W. 38th St in New York. Popularly known for his large-scale oils and brutal approach to painting, Alex Merritt will be exhibiting 20 new paintings and drawings in large and small formats.
Merritt’s works include a recurring motif visualized through expansive landscapes juxtaposed by isolated figures which directly confront the viewer. In works like “Hermetic Bliss” (detail above), the subject is visceral and haunting yet vulnerably human. A distinct narrative is intentionally concealed and left for the viewer’s interpretation, much like the artist’s process: it is hidden amongst the layers.
Through a constant working and reworking, the paint is scraped down and built up to range from a thick paste to liquid. The sheer physicality of the canvases showing layers of paint 3-4 inches in depth reveals they are as much of an object sculpturally as they are a 2-dimensional image. Subject and object become one, and the finished works represent a direct result of these layers, weaving in and out of one another, often obfuscating the literal.
Merritt’s influences include the likes of Chaim Soutine, Joan Eardley, Antonio Mancini, and Frank Auerbach; Inspired by their bravado to compose large-scale works and to experimentation with surface quality.
Alex Merritt was born in 1981 in Washington, DC. In 2015, he received his B.F.A. in painting from the Mary- land Institute College of Art and in 2018 completed his MFA from The New York Academy of Art. The artist joined Booth Gallery in June 2018; this will be his first Solo show to date. Works from are in numerous private collections worldwide and currently has had a collection of works acquired by liana Gore Museum in Tel Aviv, Israel.
On Friday, May 17, 2019, an opening reception will be held from 6-9pm and is open to the public.
Natalie Ciccoricco is a Dutch collage artist, living in California. After moving to the United States in 2012, Natalie started making mixed media collages and illustrations inspired by her new surroundings. Her work is characterized by her use of embroidery thread in combination with other materials, such as old photographs, magazines, books, and other ephemera.
In my work I weave together new narratives on paper, using embroidery thread and found images. By re-using old materials, it is my hope to give them a new life and meaning. I am inspired by the American landscape, my dreams, nature, arts, literature, and my travels.
My latest series ‘Down the Color Hole’ is an exploration into color and the concept of multiple dimensions. I use embroidery thread on images of old books and magazines to create the visual illusion of a new vantage point - a glitch in space and time from which the image seems to explode or implode, depending on how you look at it.
Lauren Mycroft is a Canadian painter whose abstract works reference organic shapes using complex layers and staining. Using a contemporary palette and methodical layering technique, Mycroft creates process-driven artwork that feels both fresh and familiar. The compositions are created freely and intuitively, learned through years of practice and formal art training. Inspired by memory of place, Mycroft reflects on our emotional attachment and not specific locales. Through her unique palette and fields of stains, Mycroft offers the viewer a sense of nostalgia and elicits a personal response based on their own experiences with the landscape.
Mycroft studied at Vancouver Island University and Emily Carr University of Art and Design, and now exhibits regularly on the Canadian West Coast.
In your artist statement, you talk about how your practice is process driven. How did you develop your process?
My process was developed over years of experimentation and working towards the goal of painting without developing an attachment to the end result. I have always enjoyed painting with a fluid medium. However, something clicked for me when I started working with high flow paints. This new medium caused my process to change dramatically, as I started pouring liquid paint over the canvas rather than applying with a brush.
What is your favorite part about your intuitive practice?
Painting intuitively as opposed to painting with a specific outcome in mind challenges my need to control small details and allows me to problem solve creatively in the moment. Although it can feel overwhelming approaching a canvas in this way, once I overcome the compositional challenges of a painting, I am far more excited by the result than had I approached it with a predetermined outcome.
You also talk in your statement about being inspired by the memory of the place. When and how did this idea become an inspiration in your work?
The process of painting landscapes is something that has allowed me to reflect upon my childhood, as I moved around a lot in my life. Leaving the imagery abstracted and void of representative details allows the viewer to create their attachment to the work. For me, each piece is very personal; however it is not based on a specific locale, it is more representational of time.
How does the idea of memory drive and come through in your work?
I would say the idea of memory drives the mood of my work and dictates my color palette and the boldness or softness or a painting. That, combined with the indistinct forms, allow viewers to apply their memory and attachment to a piece which creates a connection for the collector.
Can you tell us a little about your color palette? Is the palette premeditated for each piece or do you work intuitively there as well?
I often start with an idea of a palette or a couple of colors; however, it changes as the painting develops.
Can you share a piece of advice you have received that you think our readers would benefit from hearing?
I don’t remember where I read this, however, the simple, yet powerful statement, “walk towards your fear” has greatly impacted how I approach creating such personal work every day and how I navigate this career. I also have a note on my studio wall reminding myself not to allow the work to become precious; this keeps it fun and experimental and will enable me to make my best work.
What has been the best part of your artistic career thus far?
I keep surprising myself with what I’m able to accomplish as a self-employed person (even the fact that I’m self-employed is a surprise to me) who is also raising two little humans! There’s a sense of pride and newfound confidence that I’ve acquired with each hurdle I overcome.
Katherine Fraser is a graduate of the Pennsylvania Academy of the Fine Arts and of the University of Pennsylvania. As a student she received the Thomas Eakins Painting prize, the Cecelia Beaux Portrait prize, and the William Emlen Cresson Memorial Travel Award, among others. Since graduation she has been exhibiting throughout the Mid-Atlantic region, and nationally. Katherine grew up in Maine as an only child, and finds that experience often reflected in her work. Her subject matter comes from memories and experiences that feel in some way universal. By portraying singular figures in sparse settings, she explores the idea that being alone makes us feel most alive and connected to our true nature. She is represented by Paradigm Gallery, in Philadelphia.
My paintings depict moments of quiet reflection and insight, of wonder, vulnerability, yearning, determination, humility, strength, and growth. I see a duality in every moment, and beauty in the tension of opposing emotions existing in a single facial expression. As every person, and every experience is multifaceted, every painting is meant to express a dimensional idea. I am fascinated by the mutability of memory, by the way emotions can shape perception, and the way we unconsciously create narratives to understand our experience and explain our identities.
I paint out of my sincere desire to respect, express, and share the tender qualities that unite us. Compassionately and with a generous heart, I seek to portray our continual need to reckon expectations with truth, and the struggles we endure to feel satisfaction with our choices. My goal is not just to make aesthetically beautiful paintings, but to create works that touch and resonate with the complexity of real world experience.
Saskia Fleishman b. 1995 graduated Rhode Island School of Design in 2017 with a BFA in painting. Fleishman is based in Brooklyn, NYC. Recent residencies include Vermont Studio Center, Trestle Art Space, and The Otis Emerging Curator Retreat.
Curious about curating other artists’ work, as well as exhibiting her own, Saskia continues to collaborate with peers around the greater New York area. In addition, Fleishman has exhibited her work in Miami, Providence, Rome, San Juan, and Milwaukee.
This series of paintings is generated through photographs of American landscape taken on recent vacations and images sourced from my family’s collection. These photographs are then composed as geometric abstractions, op-art, or color studies from ”The Interaction Of Color” by Joseph Albers, in order to deconstruct, reflect upon, and rebuild early memory and perception. I pair flat, smooth, hard-edge paint applications aesthetic with textural materials such as sand, resin, and paper clay, to add unexpected dimension and reflection. The paintings explore nostalgia while contemplating moments in time, perception, and our relationship to memories embedded in landscapes.
As a visual artist, Adam Hall began working mostly with charcoals and oils. Self taught, he attempts to mix traditional style with contemporary. Using palette knifes and layering techniques he creates a true richness and depth to his work. Adam believes every painting is his next opportunity in truly expressing his vision and vibe through landscape. “Art is such a powerful tool and I strive to use it in the most positive way I know how.” While his passion for art began growing up in Wellsburg, West Virginia, his professional artistic career began nearly a decade ago in Nashville. Adam quickly became involved with a local interior design firm whose clientele took great interest and demand for his art. His work is now featured in several galleries throughout the southeast United States. Adam Hall proudly resides in Nashville, TN, with his wife Thais. Adam spends most of his time in his studio in Nashville and continues to discover a fulfilling purpose through art.
Jiela Rufeh was born in Boston, Massachusetts of German and Persian descent. She grew up in the small colonial town of Concord, encompassed by a rich cultural and literary history. The lush New England wilderness has served as inspiration to great thinkers who resided there such as Ralph Waldo Emerson and Henry David Thoreau. Growing up, Rufeh’s mother was a working artist who started taking she and her brother to all the greatest museums in Europe at a very young age. After years of eye rolling, all the early exposure became a source of inspiration for Rufeh when she fell in love with the work of Georgia O’Keefe after seeing her iconic large-scale paintings of flowers at the Museum of Fine Arts in Boston.
Rufeh’s education and professional life have taken her across the country from DC, New York, and Boston to San Diego where she currently lives and works. She first attended American University as a Communications major but transferred to University of Syracuse to study Photography and Sculpture. While there, she was introduced to the work of Irving Penn, whose technical virtuosity with a lens and cutting-edge aesthetic remains her biggest photographic influence. Rufeh then went on to do post-graduate work at the International Center of Photography in New York. She began interning at Harper’s Bazaar, quickly making her way through the ranks of the photography world of NYC with the goal of being a fashion photographer. Penn’s work made her realize that she didn’t have to sacrifice her creative impulses to work in commercial photography.
After a year, Rufeh went to California to studio lighting at the prestigious Brooks Institute of Photography in Santa Barbara and work in commercial advertising. She was swept up in the digital revolution, learning all the newest digital media tools under one of LA’s hottest commercial photographers. She worked to overcome the obstacles inherent to photographers emerging within the paradigm of new media, not to mention for photographers and photo-assistants that were female. Missing the intrinsic stir she had received from sculpture, the possibilities of new media inspired Rufeh to begin experimenting with incorporating different materials—especially encaustic—into her photography. It was a way of rebelling against her commercial work and pushing the photo to a place where it wasn’t allowed to go in the commercial world.
Aside from working as a commercial photographer for more than 20 years, Rufeh has been exhibited nationally for over a decade with multiple solo exhibitions in Berlin, Germany. The last few years have been the most exciting for Rufeh’s career as an artist. She now devotes all her time to her studio, volunteer work, and meditation practices while maintaining a consistent presence amongst the Southern California art scene, exhibiting most recently at the Museum of Latin American Art and the William D. Cannon Art Gallery. She works to develop new photo techniques that push her work into different genres and hopes that her art will continue to generate discussion regarding new media and environmental issues.
Visual art is an immediate expression of meaning—a commentary on things personal, societal, or even universal—and it has a unique energy. This unfolding universal energy has been an evolving interest of mine and my work has been influenced by my study of it and its manifestation throughout different cultures. It is a quest that cannot be separated from our daily lives.
Nature to me is an obvious place to start when dealing with these themes. We can see ourselves in the shapes of nature and in the way all its various elements affect one another. There are also man-made structures and landscapes that reflect our nature in a different way; years of layered graffiti reveal an undocumented history of creativity. But the insistent beckoning of nature is the hardest to ignore.
I travel extensively to remote natural locations to take photographs that explore my concepts and to be completely absorbed by the elements around me ‐ the colors, the smells, the silence, the peace, the wind brushing against my skin, the warmth of the sun… all awaken my senses.
When I come back to the studio I never really know where the photograph will take my painting. To be of worth, art must be expressive, sharing an artist’s thoughts and feelings. For me, feelings are paramount. The picture speaks to my gut and my body responds instinctively, emotionally, with color, texture or the absence thereof. My goal is that this visceral approach allows me to communicate something personal that becomes universal.
Holly MacKinnon is an artist based out of Montreal, Canada. She received her BFA from NSCAD University in 2015. In 2014, she was awarded the Art In Schools Scholarship in Stellenbosch, South Africa, where she spent a semester interning for a community art program and painting. Since then, she has been developing her body of work, experimenting with different subject matter and exploring themes such as the relationship between humans and nature. Her work has been shown in exhibitions and publications in Canada and the UK. She recently completed an artist residency in Iceland.
Her work is mostly oil paintings of figures within dreamlike landscapes and spaces. Nature is an escape from reality and provides an intense loneliness that the artist enjoys. These experiences in nature bring about a certain self-reflection. Most of the figures she paints in these scenes look lost, disturbed and lonely even when they are not alone. They seem to have wandered into the woods for want of a peaceful place. There are many ideas at play: childhood, mental and emotional (in)stability, and the relationship between humans and nature.
A still moment that seems uneventful is full of conflicting energy: calm landscape, dark ominous sky, disturbed expressions – the painting pulls us in and out of joy and despair. In these woods, experiences are not shared: they are individual and deeply personal and differ greatly from one figure to the next – what transpires in the mind of our neighbour we do not know.
My newest exhibition, The Obscured Landscape, plays upon the imagery of the “obscured” that occurs within the urban landscape. The exhibition continues my interest in the nocturne, with carefully composed pieces that focus on the camouflage that occurs within the exterior environments. The featured obstructions have at times been intentionally created by the hand of man, while at other moments, they have been created by nature. The level of obstruction ranges from a slight hindrance to complete obliteration - a short privacy fence separates one home from the next while towering foliage creates a complete barrier to a barren parking lot. While elements of human activity exist, such as a light shining from a window or a trash can on the corner, the paintings absolve themselves from actually depicting people. Instead, the work records and reflects upon the transformation of the urban environment by people through their action with or against the natural environment.
642 N High St, Columbus, Ohio 43215
October 5 - 31, 2018
Opening Reception, October 5th 5:30 PM – 8 PM