Chelsea, New York: In Mother, Consumed, her second solo exhibition at 532 Gallery Thomas Jaeckel, Susana Guerrero presents a collection of recently created objects that explore the symbiosis between mother and child during gestation, that precarious period when two lives are inextricably intertwined and a woman shares of her own organs, sustenance, and spirit so that a new, fully autonomous being might spring into the world. Guerrero’s works merge the traditionally feminine process of weaving with materials more commonly found in the historically male realm of industrial fabrication. A veil woven from thin cables that flows from a bloody red to a watery blue, a delicate womblike cage fashioned from thin strips of metal covered with sharp thorns from the medicinal Agave plant, and a hard ceramic sphere covered with gilded baby-bottle nipples all hint at a profound tension between warm maternal instinct and cold self-protection. Based loosely upon a Mediterranean myth of a woman who surrenders her own flesh to engender several other lives but is then parthenogenetically reborn, these works bear witness to that mysterious passage from unity to duality through which we all go at the inception of our lives.
Palm Beach Modern + Contemporary / Art Wynwood Special Online Edition
February 24 - March 14, 2021
Chelsea, New York: 532 Gallery Thomas Jaeckel is pleased to take part in this year's Palm Beach Modern + Contemporary / Art Wynwood Special Online Edition. Our online booth at Palm Beach Modern + Contemporary and Art Wynwood Online Edition, features the following artists in the gallery's programme: Brian Cirmo, Carlos Rodriguez Cardenas, Danny Rolph, Diana Copperwhite, Electric Coffin, Elio Rodriguez, Gustavo Acosta, Ian Hughes, John Alexander Parks, Jose Angel Vincench, Julie Langsam, Karl Jean Guerly Petion, Lennart Rieder, Lien Truong, Paco Marcial, Per Adolfsen, Piers Secunda, Sky Kim, Susana Guerrero. The fair is on view until March 14.
In Between Beneath The Mirror, 2021, Acrylic, Mixed media on canvas, 83" x 53"
"Synonymous with the dark and the unknown. In this painting the shadows are reversed. Hyper fragmented colours create forms that resemble aspects of the human figure. They find their shape in the process where form, light and organic mass dismantle the laws of logic. In this fictional space the shadow becomes solid, electric and light" -- Diana Copperwhite
"Copperwhite’s process and form evoke both a sense of excavation—and with it, Freud’s archaeological metaphors for delving into the past and the unconscious—and that sense of blurring or erasure when one cannot quite fully remember an event. Her fluid bands of colored light slicing across weathered surfaces viscerally affect the viewer, reminding us that memory is not just an artifact of the past, but an animated phenomenon intensely felt in the present." -- Robert Shane, The Brooklyn Rail
Diana Copperwhite, In The Shape Of Shadows (2019)
In The Shape Of Shadows (2019)
Oil on canvas
60 x 60 x 2 inches
"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" -- Donald Kuspit
Jose A. Vincench, Autonomia (2015)
Jose Angel Vincench
Gold leaf on canvas
31 1/2 x 31 1/2 x 1 3/5 inches
"January 1990 was my first trip to New York. On a cold morning I caught a train from Manhattan to Montauk changing at Jamaica. I had read that lots of artists I admired had lived on Long Island and I wanted to go as far east as I could. The train journey was eventful, I remember everyone warning me not to leave it too late getting back to the City! So, 30 years later during Lockdown in the UK I wanted to recollect that day. I decided on a diptych format to create a division between the two parts of Long island as I saw it with Brooklyn, Queens and the city I was leaving on the left transitioning to the rural as your eye wanders right. I chose a thicker triplewall to paint upon for its extended optical effects. My memories are primarily of the striking angularity in the architecture in the city that carried into Long Island, becoming less frequent as the journey progressed. I watched from the window of the train whilst listening to P-Funk on a cassette tape in my Walkman. I remember this overwhelming pink hue upon the buildings as the train chugged eastwards. In this painting I reference the coast and waves viewed that day in the lower part of the right hand panel. A clear angular dark shape on the right represents the end of that journey as I looked out on the freezing ocean and returned (slowly) on the late train back to the city. This painting is a recollection but I also view it as a kind of allegory relating to the urban and the rural, like what you often see in Pre and Early Renaissance Painting?" — Danny Rolph
Danny Rolph, Long Island (2020)
Long Island (2020)
Acrylic, Mixed media on canvas
39 2/5 x 56 x 1 3/5 inches
Situated between the past and the future, Lien Truong’s paintings are layered between different times, pointing to an ambiguous present that conflates defiance with prejudice and moral risk. Truong melds a soft, painterly palette with references to symbols that overflow with historical meaning.
Patterns of cloth, involving reference to historic Asian silk painting, seem to absorb the lineage of violence in the collective psyche. The paintings themselves are vessels, setting in relief historical indignities suffered by individuals at the hands of the state. The vessels give rhythm and shape to people and places whose histories have been all but erased.
Lien Truong, And then the water turned a lurid hue (2019)
And then the water turned a lurid hue (2019)
Oil, silk, acrylic, laser cut linen, antique Japanese cloth on canvas
60 x 72 inches
Full moon and an empty beach
Graphite, Pencil on Hahnemuehle paper
23 3/5 x 16 1/2 inches
Per Adolfsen"s drawings in graphite and colored pencil are the product of Adolfsen’s abiding interest in keeping his artistic practice grounded in the fundamental relationship of eye, mind, and hand, without reliance on technologies and tools more modern than those used by the Old Masters and their disciples through the centuries.
Per Adolfsen, Full moon and an empty beach (2021)
Oil on canvas
22 x 20 inches
Brian Cirmo's large-scale paintings envelop the viewer in the visceral worlds he creates, while smaller scale portraits, set in snowy landscapes or on moon-lit beaches, offer moments of reflection. The color gray figures in many of the works, even those ablaze with luminous color; Cirmo also asks viewers to think about the gray areas that we navigate in our relationships or in solitude.
Brian Cirmo, Snowflake (2019)
"The daily trading on the exchange is a ferocious zero-sum game where there are winners and losers. It's a fight. So I decided to paint it as a rather unlikely fist fight where all the business guys in their dark suits have suddenly mixed in with a huge brawl. I used exaggerated gestures and sometimes quite preposterous attitudes so that the piece became more whimsical than brutal. The building itself seems have gotten into the action as well with the trading stations dancing amongst the crowd... In the end the picture is a tribute to the pugnacious, competitive side of New York life, more positive than negative..." -- John Alexander Parks
John A. Parks, The New York Stock Exchange (2015)
John A. Parks
The New York Stock Exchange (2015)
Oil on linen
30 x 42 x 2 inches
ISIS Bullet Hole Painting (Angels)
Industrial floor paint
30 x 30 x 2 1/2 inches
Piers Secunda has developed a studio practice using paint in a sculptural manner, to record both conflicts and post industrial revolution developments,
which have formed the world we know today, with a focus in the last decade, on the destruction of culture in war time.
"The best pictures almost always involve an element of serendipity, some unexpected occurrence in the process of making them, or more likely, in the process of destroying them. Scrum is one of those pictures. I was in the process of painting it out with a coat of gray paint when I took a swipe at it with a wet sponge. It was almost like the figure I was wiping out fought back! The painting ends up looking like the psychological experience of making it: a tussle, a head-but between two opposing forces." -- Ian Hughes
Scrum, 2019, Acrylic on canvas, 42" x 36"
The Mother / Le Madre
Brass, terminals, woven cable, ceramic
67 × 61 × 59 inches
"The process of making the artwork it’s like a ritual; the choice of every material, the configuration of every shape, of every element, brings a poetic meaning and symbolism to the artwork. The process as exorcism, the transformation of physical pain as purification of the body and the spirit, its laceration as the offering to the miracle of life" -- Susana Guerrero
Susan Guerrero, The Mother / La Madre (2020)
Tropical Garden I
72 x 72 inches
In his wallmounted monochromatic soft sculptures, Rodríguez assembles forms that initially read like whimsical semi-biomorphic riffs on 20th century Abstract Expressionist sculpture, and almost feel like a playful synthesis of Louise Bourgeois and John Chamberlain. Given time and attention, though, it begins to reveal complex allusions to nature’s exuberant fecundity, the artist’s complex relationship to his own Cuban identity, and the stereotypes that many North Americans have about tropical cultures. Although all of the artist's works are patently artificial in their materials and construction, they also embody the artless power of nature in all its self-assertive, unselfconscious grandeur.
Elio Rodriguez, Tropical Garden I (2018)
Oil on canvas
118 x 177 inches
In "Guggenheim" Portales places the art spectators at the center of artistic discourse. 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, Guggenheim (2018)
Once upon a time a Racing driver said “that we race cannot be explained by the necessity of sports for industry, but by the indefinite urge in Men to compete and succeed in things that really serve no purpose, but still require the entire dedication and force of his personality”. That sentence describes as well, a good part of an artist life. My own at least. And on that basis, my sculptures reflects many of the spirit of the early Motorsport drivers. This particular work was inspired by a driver named Jochen Rindt who, in 1970 became the only posthumous World Champion ever in Formula 1.
His countryman Wolfgang con Trips, who said those words that start this text, he also died in a racing crash not too long after he said those words, nine years earlier than Jochen — Paco Marcial
Paco Marcial, Clocking the time until all we a-green, there’s lucky numbers (2020)
Clocking the time until all we a-green, there's lucky numbers (2018)
ZIG Kuretake water base ink pen on paper, mounted on Lanaquarell watercolor paper
11 x 16 inches
In a set of floral still lifes embedded within undulating, wavelike backgrounds, Lennart Rieder seems to point toward the profound gulf between humanity and the natural matrix from which we once emerged.
In "Slow" my intention is kind of a call to slow down, also a reference to the slow painting movement, and the vanitas still life paintings. The still life as a symbol of transience. The shapes are intended to have a digital appeal, connecting the traditional medium oil on canvas with digital tools, "Post Digital". In the end, I'm really trying to create a certain feeling while referencing different aspects in painting and art -- Lennart Rieder.
Lennart Rieder, Slow (2019)
Oil on line
67 x 49 inches
Sky 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.This painting hints at fragile aquatic forms including soft globular colonies of our most ancient unicellular ancestors in the primordial seas. Set in soft watery blues and lustrous shades of turquoise suggesting bioluminescence and nature’s exuberant palette
Sky Kim, Rain Wall (2020)
Rain Wall (2020)
Watercolor, Swarovski crystals on paper
70 x 144 inches
Seattle-based collaborative duo Electric Coffin (artists Duffy de Armas and Stefan Hofmann) works provide the odd pairing of an animal with a disproportionately small vehicle perched on its back. Although the meaning of this mash-up is elusive, its bright, industrial colors and sleek, contemporary materials (back-painted glass, acrylic resin, holographic film) seem to gesture obliquely toward the idea that today the entirety of nature and culture form one vast junk pile of free-floating bits and pieces waiting to be refashioned into an endless series of slick, cool commodities through a neverending process of recombination and remixing.
Electric Coffin, Bloodlust Trans Am Wolf (2019)
Bloodlust Trans Am Wolf (2019)
Glass, acrylic paint, wooden frame
40 x 49 x 1 inches
Oil on wood panel
44 x 44 inches
Julie Langsam's work explores the notion of the sublime within the context of utopian/dystopian ideas about modernist 'progress' and societal ideals. These underlying themes are present in works that embrace a variety of strategies and genres including landscape, figuration, abstraction, documentary photography, and architecture.
Julie Langsam, Whirling Dervish (2020)
"The shadow that haunts Acosta’s worldly cities suggests they are illusions—theatrical illusions which people mistake for reality, to allude to Plato’s myth of the dark cave, where people are chained to their ignorance. But the geometrical character of his paintings tells us that they are higher things—that art is more intelligible than reality, and as such more peculiarly real than reality. Acosta’s idealistic geometry is his way of escaping from—rising above—the grim reality of the city" -- Donald Kuspit
Gustavo Acosta, Sixteen Flags and a Tropical Landscape (2017)
Chelsea, New York: In his third solo show with 532 Gallery Thomas Jaeckel, Danish artist Per Adolfsen presents recent landscape drawings in graphite and colored pencil mounted on natural maple wood panels.
The works are the product of Adolfsen’s abiding interest in keeping his artistic practice grounded in the fundamental relationship of eye, mind, and hand, without reliance on technologies and tools more modern than those used by the Old Masters and their disciples through the centuries.
Adolfsen describes his process thus: “Very simple: a man, a pencil and a piece of paper. I go out into my environment every day. I study it and I draw what I see. The sky, the trees, the sea.” He thereby hopes to sink into a communion with nature that reveals otherwise veiled aspects of its being. “I feel that it gives way to a deeper understanding of the way the world is constituted,” he comments. “I study interconnections on different levels. How nature is constituted. How the interconnections for life, death and growth are constituted.”
While mostly naturalistic at first glance, some of Adolfsen’s drawings veer toward an almost Fauve exuberance in their use of color, as seen, for example, in the densely rendered, primary-blue clouds of Dunes by the West Coast.
Within all of these drawings, Adolfsen constructs rocks, trees, hills, clouds, and water with tightly controlled arrangements of contour lines and hatches deployed with almost Cézanne-like precision, giving these forms a solidity that sometimes belies their actual flatness. Often these elements come together in ways that are both whimsical and profound, as in By the Canal, where four rocks in almost outlandish tones of orange and magenta nestle within in a pile of stones rendered in more mundane terrestrial shades of black and brown. The hints of a deeper life that Adolfsen is seeking within the phenomena nature is perhaps revealed best in these moments.
Chelsea, New York: 532 Gallery Thomas Jaeckel is pleased to present "Fall Breeze". Among a variation of themes and motifs, from abstract to figurative, this group exhibition presents a selection of distinct works of art relevant to the current time. Artists featured from the gallery’s programme: Alberto Alejandro Rodriguez, Brian Cirmo, Carlos Rodriguez Cardenas, Danny Rolph, Diana Copperwhite, Electric Coffin, Elio Rodriguez, Jose Angel Vincench, Lennart Rieder, Lien Truong, Per Adolfsen, Piers Secunda, Sky Kim, Susana Guerrero. The exhibition is on view until November 28.
Chelsea NYC: 532 Gallery Thomas Jaeckel is back open with our group exhibition “Summer Loving”, on view through September 19, 2020. The exhibition brings together a diverse array of evocative works drawn from the object-based practices of 22 of our favorite contemporary artists: Alberto Alejandro Rodriguez, Bernard Ammerer, Brian Cirmo, Carlos Rodriguez Cardenas, Danny Rolph, Darcie Abbatiello, Diana Copperwhite, Electric Coffin, Elio Rodriguez, Ian Hughes, John Parks, Julie Langsam, Jose Angel Vincench, Karl Petion, Lien Truong, Lennart Rieder, Lynn Stern, Marlon Portales, Paco Marcial, Per Adolfsen, Sky Kim, Susana Guerrero.
Alberto Alejandro Rodriguez, Bernard Ammerer, Brian Cirmo, Carlos Rodriguez Cardenas, Danny Rolph, Darcie Abbatiello, Diana Copperwhite, Electric Coffin, Elio Rodriguez, Ian Hughes, John Parks, Jose Angel Vincench, Lien Truong, Lennart Rieder, Lynn Stern, Marlon Portales, Paco Marcial, Per Adolfsen, Susana Guerrero, Sky Kim.
"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 firstname.lastname@example.org
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.