Posts Tagged ‘Ian Hughes’
IAN HUGHES Solo presentation at UNTITLED curated by Omar Lopez-Chahoud
APRIL 26 – MAY 26, 2012
Gallery 532 Thomas Jaeckel is pleased to present the paintings of Ian Hughes in his second one-man show at the gallery.
In this new body of work, Hughes brings to full fruition the investigation of color, space, and form that has been underway for nearly two decades. The new paintings continue to probe an artistic vein that runs from the eye to the brain and terminates in the viscera. The color field is repurposed as a visual staging area upon which organic forms, vascular and sinuous, shape-shift and commingle. The luminous color space of the background is simultaneously flat and volumetric, like a cloudless sky; it is a resolutely abstract space that asserts the two dimensional nature of painting and creates a dynamic contrast to the illusion of volume in the foreground.
In two related works, Yellow Curtain and Strands (Pink Curtain), the background color acts like a light box, illuminating the transparent forms from behind, analogous to an x-ray image. The reference to curtains has multiple meanings, most literally to the vertical strands hanging from the top and arranged across the picture plane like a beaded curtain (though admittedly, maybe more like flayed meat hanging on a drying rack.) But the transparency of the forms also suggests a diaphanous veil through which the viewer must pass to reach the other side, where lies another world–the world of metaphor and myth. Art historical references also abound, perhaps most poignantly to Morris Louis, whose name Hughes readily invokes as a source of inspiration.
Hughes’ technique is deceptively straightforward. Water is the medium; pigment dispersions and acrylic polymer yield color and form. Together they are poured, floated, and brushed onto the prepared surface; the dance between intent and accident, consciousness and unconsciousness, is set into motion. For Hughes, technique is purely a means to an end. Most important is the degree to which the technique serves the desire to create a state of visual and interpretive flux.
In this endeavor, Hughes aligns himself squarely within the tradition of painters like Paul Klee and Wassily Kandinsky, whose groundbreaking ideas gave rise to a main branch of contemporary American abstraction which espouses the possibility of conveying the full range of human experience through the raw materials of paint and renders moot the distinction between abstraction and figuration.
Please contact the gallery for further information.
Ian Hughes’ paintings exploit the anatomical link between the brain and the viscera. Fluid, intertwining, and semi-transparent forms exude a bodily presence while suggesting a tangle of shifting associations. Hughes seduces the viewer with sensuous textures and a luscious palette of chromatic pinks, yellows and turquoise blues modulated by pearl whites and carbon blacks. For Hughes, the color field is a stage on which to choreograph a visual and psychological drama. In Hughes’ paintings, we could be frolicking in a garden of earthly delights or wallowing in the heat of the netherworld.
1986 M.F.A., Columbia University School of the Arts,
Division of Painting and Sculpture, New York, NY
1981 B.A., Yale University, New Haven, CT
1980 Yale Summer School of Art at Norfolk, Norfolk, CT
Ellen Stoeckel Battel Fellowship Recipient
2012 Untitled. Art Miami, Miami, FL; curated by Omar Lopez-Chahoud, courtesy 532 Gallery Thomas Jaeckel, NY
Ian Hughes Paintings, 532 Gallery Thomas Jaeckel, New York, NY
Art Wynwood, Miami , FL , 532 Galery Thomas Jaeckel
2011 Aqua Art Miami, 532 Gallery Thomas Jaeckel
2010 Inside Out, Ian Hughes Paintings, 532 Gallery Thomas Jaeckel, New York, NY
Aqua Art Miami, Miami, FL
2009 Paper in the Wind, 532 Gallery Thomas Jaeckel , New York, NY
2003 New Works on Paper, Victoria Munroe Fine Art, Boston, MA
2002 25th Anniversary Exhibition, The Drawing Center, New York, NY
Watercolor: In the Abstract, traveling exhibition:
Hyde Collection Art Museum, Glens Falls, N.Y.
Michael C Rockefeller Arts Center Gallery, SUNY College, Fredonia, NY
Butler Institute of America, Youngstown, OH
Ben Shahn Gallery, William Patterson University, Wayne, NJ
Sarah Moody Gallery of Art, University of Alabama, Tuscaloosa, AL
Nina Freudenheim Gallery, Buffalo, NY
1999 Surfing the Surface, DFN Gallery, New York, NY
1998 Abstraction in Process, Artists Space, New York, NY;
(Irving Sandler and Claudia Gould, curators)
1991 White Room: Paintings, White Columns Gallery, New York, NY
Update 1991, White Columns Gallery, New York, NY
1990 Hall Walls, Albright Knox Museum, Buffalo, NY
1989 Climate ‘89, Condeso/Lawler Gallery, New York, NY
1988 Drawings, Massachusetts College of Art, Boston, MA
1985 Selections 31, The Drawing Center, New York, NY
1996 New York Foundation for the Arts Fellowship Recipient for Painting
2005- current Adjunct Instructor, Foundation Department, Parsons School of Design
2000-2007 Visiting Assistant Professor, Foundation Arts Department, Pratt Institute, Brooklyn, New York.
1998 Visiting Artist, Bard College, Annandale, NY
1997 Visiting Artist, Brooklyn College MFA Program, Brooklyn, NY
New American Paintings, Open Studios Press, Boston, MA. March, 2005
Rose, Barbara. “Watercolor: In the Abstract.” Exhibition catalogue essay, September 2001 (color illustration)
Everett, Deborah. “Double Vision: Studio Visit with Ian Hughes.” NY Arts, September 1999, p54. (reproduction)
Johnson, Ken. “Abstraction in Process II.” The New York Times, February 6, 1998, p. E36.
Atamian, Christopher. “Abstraction in Process II.” Review, February 15, 1998.
Gibson, David. “Abstraction in Process II.” NY Arts, March-April 1998, p.17 (reproduction)
Arning, Bill. Update 1991. (exhibition catalogue) Fall, 1991.
Chaet, Bernard. The Art of Drawing (Third Edition). Holt, Rinehart, Winston, 1983, (reproductions)
May 10 – June 7, 2010
532 Gallery Thomas Jaeckel is pleased to present INSIDE OUT an exhibition of paintings by Ian Hughes, an outstanding mid-career painter, in his first one-person show in a New York gallery. Hughes’ paintings (here represented by large, medium and small scale works) re-examine and renew the always delicate relationship between color and form. Hughes’ forms are strangely suggestive, but of what exactly: primordial ooze, cell division run amok, fragments of the cosmos, a frozen oil spill, decay or growth, plant, animal, or human? As the painted forms shift and mutate, so do the associations. Everything is in flux. A form is related, via color shifts, to an adjacent form, which itself is related to another, then another. This set of internal relationships causes the viewer’s eye to move about the canvas, picking out new ideas. Each interior form in a Hughes canvas can activate a different memory. Taken together, they can create a new universe of ideas for the viewer.