"Hughes’ central images are like disembodied viscera which seem to continue living apart from the entire bodily system. It’s as if they have, like separatist protesters, decided that they are the core or essential aspect of the body and that other systems are just not worth supporting. These viscera must have their independence. [Hughes’ paintings] are desire embodied as biological conduits, showing that bodily desire is never consummated fully, which is in contrast to our belief that spiritual desire can be consummated fully and finally, leading to eternal bliss." -- Daniel Gauss, Arte Fuse
"My paintings represent a longstanding belief in the possibility of translating human experience and feeling through the raw materials of painting. For quite some time I have been probing an artistic vein in which naturalistic forms shape-shift on top of an abstract color space. Regardless of what form they take, the images are rooted in the human body and more specifically, the psychological and emotional link between brain and viscera. I think this also explains my preference early on for working large scale, usually on the floor. The physicality of working large allows the body to override the brain. Only then does the door open to serendipity. Ultimately, what matters most is that, when successful, the imagery and the materials are psychologically charged and form a kind of connective tissue with the viewer." -- Ian Hughes
Destruktion is a project presenting painting, sculpture, and artist books by Alberto Alejandro Rodríguez all centered on the different forms that ruins can take in modern society. Not simply as partially or completely destroyed architecture but as a changing structure woven into the urban fabric, a byproduct of indifference as humans reflexively think and interact with the space around them. The series of works in Destruktionhighlight the consequences for today’s society, both negative from a practical point of view and positive from a poetic point of view.
“Destruktion” a term coined by Heidegger that influenced Jacques Derrida’s philosophy of Deconstruction, refers to dismantling a phenomenon in order to analyze and comprehend it. Every concept has a deconstructable metaphysical aspect.
Chelsea, New York: 532 Gallery Thomas Jaeckel is pleased to announce Gray Matters, an exhibition of new paintings by Brian Cirmo. This is the artist’s first exhibition with the gallery and his first New York solo exhibition. Like a novelist working in paint, Brian Cirmo invites the viewer to witness his characters’ moments of tenderness and turmoil. Reading books or looking at photographs, or sitting with eyes closed, perhaps thinking or dreaming, the people in his interiors can be miles apart emotionally, but we still sense their need to be near each other. These large-scale paintings envelop the viewer in the visceral worlds Cirmo creates, while smaller scale portraits in the exhibition, set in snowy landscapes or on moon-lit beaches, offer moments of reflection. In Gray Matters, the color gray figures in many of the works, even those ablaze with luminous color, but Cirmo also asks viewers to think about the gray areas that we navigate in our relationships or in solitude.
Brian Cirmo (b. 1977, Utica, NY) received his MFA in Painting and Drawing from the University at Albany, and his work has been exhibited in Boston, Sonoma, New Orleans, and Washington DC. His residencies include the Elizabeth Murray Artist Residency, Granville, NY; and Salem Art Works Residency, Salem, NY. Cirmo lives and works in Albany, NY, and is Assistant Professor of Painting and Drawing at SUNY Onondaga, Syracuse, NY.
For further information or to schedule an interview with the artist, please contact us at 532 Gallery Thomas Jaeckel by e-mail at email@example.com
An overview of Lynn Stern’s work, this exhibition features prints from 18 of her 24 series of photographs, tracing the increasing abstraction of her imagery. From the interior spaces of the early Interior Light series in which she thinks of “the architectural planes as vehicles that make the light reverberate,” to the in-progress Mystic Light series, her goal is to “make the light palpable.” Since the mid-80s Stern has been working in the studio with backlit translucent scrims of white or black fabric, sometimes creating pure abstractions of light and shadow, sometimes combining the scrims with objects – most notably skulls, both human and animal. The latter are highly charged, the skulls’ expressiveness made more dramatic by their interaction with the scrim’s gestural folds of light and dark. Since the late 80s Stern has also become increasingly interested in the form of the circle as a fraught symbol that can convey either a sense of oneness and harmony or “the black hole of an endless abyss.” While rigorously formal, Stern’s work is always charged with emotion.
Opening Reception: Thursday, September 5th, 6 – 8 PM
Artist will be in attendance
Chelsea, New York: Marlon Portales’s first solo show in the U.S., The Voyeur, brings together a series of medium and large format paintings portraying spectators in different New York museums. The artist observes viewers in a museum space and their expressions. In the intimacy of the studio, he reinterprets those impressions in painting. The Voyeur analyzes art spectators, converts them into models and places them at the center of artistic discourse. The reception of works of art, the pleasure and the impact that they produce in the subject, captivates Portales; he wishes not only to contemplate it but also to represent it.As they view his paintings of other people viewing art, Portales’s audiences are invited to think about their own roles as spectators.
Marlon Portales (Cuba, 1991) graduated with the highest honor for his academics and professional achievements from the Superior Institute of Arts (ISA 2018). Portales is a multidisciplinary artist, working with several media, including painting, performance, installation and video. His political and ideological worldview results in works that pose sociological and philosophical questions, creating dialogues that invite universal reflection. Portales has been included in several group exhibitions and solo shows in Cuba, the United States, Spain, Germany, and Italy. He has participated in residencies such as Art OMI at OMI International Art Center, Ghent, New York (2015); Illy & UNIDEE in Citta del Arte – Fundazione Pistoletto, Biella, Italy (2016); and Fountainhead Residency, Miami, Florida (2018).
Amy Wilson, Electric Coffin, Elio Rodriguez, Lennart Rieder
July 2 – August 1, 2019
Chelsea, New York:On the Edge of the Wilds, a new exhibition of works at 532 Gallery Thomas Jaeckel, features five artists who each make use of a distinct set of materials, methods, and artistic concerns to create works that reflect a sense of ambivalence about modern culture and our relation to nature at a time when both are in a precarious state of flux.
Seattle-based collaborative duo Electric Coffin (artists Duffy de Armas and Stefan Hofmann) have fabricated four works that look something like gigantic stickers peeled from the deck of a gargantuan hipster’s skateboard.
Amy Wilson presents four new knit and crochet pieces that reference traditional women’s crafts, political manifestos, and the general doom, gloom, and uncertainty of 2019.
In a set of four recent oil paintings that include the aptly-titled Jungle and three floral still lifes embedded within undulating, wavelike backgrounds, German artist Lennart Rieder seems to point toward the profound gulf between humanity and the natural matrix from which we once emerged.
Cuban artist Elio Rodríguez returns to Jaeckel Gallery with a selection of his wall-mounted monochromatic soft sculptures.
Chelsea, New York: 532 Gallery Thomas Jaeckel presents In the Shadow of a Vessel, an exhibition of paintings by Lien Truong, opening June 6th. This is Truong’s first solo exhibition with the gallery.
Lien Truong’s recent paintings layer different times. Situated between the past and the future, they represent significant events in American history, pointing to an ambiguous present that conflates defiance with prejudice and moral risk. Alluding to America’s legacy of perpetual war, Truong melds a soft, painterly palette with references to symbols that overflow with historical meaning.
Part of Truong’s technique involves reference to historic Asian silk painting. Patterns of cloth seem to absorb the lineage of violence in the collective American psyche. In a work like “A Delicate History between the Harpy and an Angel” (2019) fabrics are set vertically, and between them cartoon nooses have been interposed. These modernized cartoon nooses emotively comment on the silk prepared and painted by the artist, in cropped, dark, figurative narrations. In “The Neurosis of Blood and Stone” (2019) strips of fabric seem to burst from the belly of a severed horse—a beast of burden too often used in wars. In both paintings, the physicality of the body becomes a ghost-like abstraction.
Vessels, like any other object that contains space within itself, can be broken; they can spill over. In the Shadow of a Vessel refers to, on the one hand, objects, figures, and persons ravaged by war and other affronts to personal autonomy. On the other hand, the paintings themselves are vessels, setting in relief historical indignities suffered by individuals at the hands of the state. In this latter sense, the paintings ensheath specific histories along with a retroactive desire for justice. The vessels on view give rhythm and shape to people and places whose histories have been all but erased.
Chelsea, New York: 532 Gallery Thomas Jaeckel is very honored to present Diana Copperwhite’s, The Clock Struck between Time, from April 30 to June 1, 2019. The opening reception is on Tuesday, April 30 from 6pm to 8pm, with the artist in attendance.
Copperwhite, who is based in Dublin, in these new paintings expands upon her concerns of figuration, abstraction, and representation with references both to time as it is observed and counted and to the temporality of music and memory. Her arresting critical approach to abstraction by way of a “computer-inflected visuality,” as suggested by Stephen Maine in his Hyperallergic 2017 review, suggests reality is a pliant screen and evokes the instability of images and the fragility of memories as metaphors for the precariousness of our present realities.
In her first solo show at Thomas Jaeckel Gallery, Korean artist Sky Kim presents an exhibition of intricate and powerful watercolors that stunningly push the medium far beyond its traditionally assumed visual and conceptual limitations. Imbued with a sense of calm but profound mystery, the paintings in Each One All evoke the gentle presence of a flower in bloom, or the quiet self-assertion of a breathtaking array of stars in a clear desert sky. Kim’s mesmerizing masses of undulating interlaced strands and radial vortexes evoke the endless beauties of nature while retaining an eerie alienness that vests them with a vaguely otherworldly aura.
Kim’s paintings have a systematic and coherent internal logic that mimics the complex interplay of order and dissolution found at every level of the cosmos. Each image hints at as-yet-undiscovered natural forms lurking just beyond our perceptual horizons. The untitled pieces in her Multiverse series have the feeling of fantastical galaxies congealed from thousands of tiny, shiny spheres that resemble pearls, glass beads, or steel bearings (in once piece, these forms are juxtaposed against actual Swarovski crystals, creating a fascinating contrast between her illusionistic rendering and their literal presence). In a piece from the Wavelength series, thousands of painstakingly rendered strands are woven into a hairlike mass that floats in an indeterminate gray space; the resulting form is both an integral entity and a dismembered clump at once. The Vortex and Portal series hint at fragile aquatic forms including brittle sea urchin shells, delicate clusters of octopus eggs, and soft globular colonies of our most ancient unicellular ancestors in the primordial seas. Kim’s bridging of scales from the cosmic to the microscopic and her spanning of the gulf between the organic and inorganic brings to mind Arthur Koestler’s idea of holons, structures found throughout the universe that are both wholes made up of smaller parts and parts of larger structures. Each of Kim’s paintings is both a self-contained microcosm—a universe in miniature—and a fanciful yet believable snapshot of the innumerable processes and interactions through which the cosmos unfolds, and by which it persists and thrives.
Both formally and conceptually, these watercolors are a fascinating study in the natural emergence of tremendous complexity from the most rudimentary elements. Given the minimal nature of the basic forms at play in these works—the sphere, the circle, the smooth linear strand—it’s astonishing to see the variety of moods and effects that emanate from them. Hundreds of undulating strands made of small, shiny spheres intertwine into a mass much like a cloud, a deep-space nebula, or an tangle of kelp bobbing on the surface of a tide pool. Petal-like blue teardrops cluster around a dark circular void; each seems to push slightly in a distinct direction within the system’s vaguely concentric overall flow, creating a subtle tension that suggests a delicate balance between corporate harmony and individual struggle. Other circular or ovoid constructions split and double via mitosis; extend pseudopod-like protrusions; or cling to one another with delicate arrays of beaded tendrils in a delicate dance that subtly echoes the give-and-take rhythms of life. Kim’s use of color often reinforces these associations in subtle ways. Most of the paintings are dominated by somber shades of black and gray, but set against them are also soft watery blues, deep violets and lustrous shades of dark turquoise that suggest bioluminescence, and the intense red of both blood and nature’s exuberant palette.
The show’s centerpiece is a 30-foot-long scroll running down the gallery wall and out into the exhibition space. At the top looms a circular, mouthlike vortex comprised of soft teardrop shapes; down from this extends a thick, undulating appendage that meanders and loops along the paper’s length with the seeming abandon of spores carried by a playful, untamable breeze. The tentacular form disappears into the rolled-up end of the scroll, allowing us to imagine its journey continuing on forever, like that of life and the cosmos itself.
Chelsea, New York: In The Burden Of Words, Thomas Jaeckel Gallery showcases recent works by Cuban artist Jose Angel Vincench. This is the artist’s second solo show with the gallery.
Looking at Jose Angel Vincench’s geometric abstractions, one can’t help being stunned by all their luminosity — the light inherent in their gold, the most precious metal of all minerals, all the more so because of its symbolic import – and their innovative, idiosyncratic geometry. Gold is universally regarded as a sacred material, a symbol of transcendence, like the sun that rises above the earth it shines on. We cannot live without its miraculous light, and we value gold because it is imbued with light. It is a peculiarly abstract material, a sort of immaterial material like light. Gold is the most malleable of metals; working with gold leaf, as Vincench does, is to bend light to one’s aesthetic and expressive purpose.
Vincench rises to the sun, as Icarus did, but unlike Icarus he does not fall, nor burn himself as he touches the light. (Donald Kuspit, “Ironical Gold: Jose Angel Vincench’s Conceptual Abstraction”)
We are pleased to represent Jose Angel Vincench. Vincench (born 1973, Holguin, Cuba) is a Cuban artist, living and working in Havana. He completed his art studies in Havana’s Instituto Superior de Arte (ISA). His works have been exhibited in New York, Zurich, Havana, and are in the collection of UBS Art Collection, New York, and Chris vin Christierson Collection, London, as well as many private collections.