Marlon Portales: The Voyeur

 

Marlon Portales

The Voyeur

September 5 – October 5, 2019

 

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).

 

Full Press Release (link)

 

For further information, please contact 532 Gallery Thomas Jaeckel by phone at 1.917.701.3338, or by e-mail at info@532gallery.com

Categories: Exhibitions Past

On The Edge Of The Wilds

 

On the Edge of the Wilds

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. 

 

Full Press Release (link)

 

For further information, please contact 532 Gallery Thomas Jaeckel by phone at 1.917.701.3338, or by e-mail at info@532gallery.com

Categories: Exhibitions Past

Lien Truong: In The Shadow of a Vessel

 

Lien Truong

In the Shadow of a Vessel

June 6 – July 2, 2019

 

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.

Read Full Press Release (link)

Categories: Exhibitions Past

Diana Copperwhite: The Clock Struck Between Time

 

Diana Copperwhite

The Clock Struck Between Time

April 30 – June 1, 2019.

 

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.

 

Full Press Release (link)

The Brooklyn Rail – The Clock Struck Between Time (article link)

Artist’s Page (link)

Sky Kim: Each One All

 

 

Sky Kim

Each One All

February 28 – April 6, 2019.

 

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.

Categories: Exhibitions Past

Jose Vincench : The Burden of Words

 

 

Jose Angel Vincench

The Burden Of Words

January 24 – February 23, 2019.

 

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.

 

Categories: Exhibitions Past

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John Parks: “Putti”

John Alexander Parks 
Putti
November 15 – December 22, 2018.

 

                                                                                                                                               

Indefatigable New York/British painter John A. Parks, takes on the subject of putti, those mysteriously animated infants who show up in so many classical paintings. Aping and often exaggerating adult behavior, they reflect the complexities of human interaction in ways that can be both charming and frightening.  Parks paints them fighting, whispering, frolicking, dancing and flying as he explores and exploits their curious existence.  Part artistic convention  and part real children, his putti offer a tool for the painter’s imagination, a vehicle with which he can make explicit the powerful forces of attraction, deceit and violence while presenting them in a form that is often beguilingly playful. Parks has also used putti to substitute for the traditional classical figures of the constellations, filling the night sky with combinations of putti interacting in all manner of improbable ways. While many of his paintings are executed in a straightforward oil technique he has also explored heavier surfaces in some of them, creating powerful sgraffito drawing scored through layers of thick acrylic paste, and then building paintings richly soaked in color on this heavily textured surface. These works take on some of the authority and curiosity of ancient mural cycles, brought up to date with an edgy touch, fine drawing and a sparkling imagination. 

John A. Parks (1952 ) was born and educated in England earning a masters degree in painting from the Royal College of Art, London.  He has lived in New York since the late seventies and exhibited his work for many years with the Allan Stone Gallery. While his early work was realist in nature his later work has explored a variety of avenues in representational painting.  He is a member of the faculty of the School of Visual Arts, New York.

Categories: Exhibitions Past

Lifeline as Medium: Recent Works by Arghavan Khosravi and Cecilia Charlton

 
Lifeline as Medium: Recent Works by Arghavan Khosravi and Cecilia Charlton 

October 18 – November 13, 2018

 
In Lifeline as Medium, Thomas Jaeckel Gallery showcases two bodies of recent work from Iranian-born painter Arghavan Khosravi and American artist Cecilia Charlton. Both artists’ creations convey a strong sense of the ancient in dialogue with the contemporary; each uses an inventive combination of diverse mediums, both traditional and modern; and both work with compelling imagery that demands the viewer’s participation to reveal hidden meanings and elusive narratives that are only hinted at by surface appearances. The works on display are the product of two lives lived under the influence of a vast and varied range of past experiences, as well as a strong commitment to discovering a new life for traditional art and craft processes within the realm of contemporary art. A dual portrait emerges of two artists striving — each in her own unique way — to make us question where we’ve been and where we’re going.

Categories: Exhibitions Past

Group Show – Hell’s Kitchen

 
JULY 16 – OCTOBER 16, 2018
HELL’S KITCHEN 

Diana Copperwhite, Ian Hughes, Danny Rolph, Gustavo Acosta, Jose Vincench, Rime

In her paintings, Diana Copperwhite plays with rich layers of light and color in a conceptual exploration of memory and abstraction. She creates a new fluid visual quality of dreamlike and transitory images.

Danny Rolph’s compositions construct their grammar of signs through material engagement and unprincipled investigations into the history of the ‘pictorial’.

Gustavo Acosta creates intensely hued portrayals of urban and natural landscapes, with rectilinear overlays of colors that integrate allusions to the ideal planned-city street grid, sharp-edged Bauhaus aesthetic, and small flashes of vitality and inspiration.

Ian Hughes’s canvases engage in a game of illusions and naturalistic forms shape-shifting on top of a flat color-space, searching for a linkage between brain and viscera, forming a kind of connective tissue with the viewer.

Jose Vincench uses the most socially valuable and significant of materials to make expressive assertions, as an abstract artist and autonomous individual in subliminal defiance of a materialistic society.

RIME finds himself engaged in a performative process — his energetic movements comprise traces of the iconographic, cartoon-styled figures, ribbons of color and light filter, flawless brushtrokes.

Biographies of the artists can be found at the gallery website. The exhibition opens July 16 and will be on view through October 16, 2018 . For more information, please contact the gallery at info@532gallery.com or visit www.532gallery.com

 

 

 

 

 

 

                            

Categories: Exhibitions

DANNY ROLPH: “WCW”

Danny Rolph

WCW

May 10 – June 21, 2018

 

PRESS RELEASE

532 Gallery is pleased to announce WCW, an exhibition of new paintings by London-based artist Danny Rolph.  This is the artist’s second solo show with the gallery.

 

Rolph’s exhibition of a new body of work made over the last year showcases the artist’s signature Triplewall paintings.  A continuation of his visually impactful paintings, these new works reflect his evolving exploration of high velocity color and layered narratives.  The compositional potential of his painting strategies on Triplewall plastic allow the viewer’s senses to be fully engaged. The paintings are layered and emotive, combining paint, drawings and collage with art historical and Pop Art references.

 

In the “WCW” painting, there are heraldic motifs and the drawing of a cowboy hat near the top.  Two large floaty irregular cylindrical “shapes”, one outlined and one purple and white, billow across the surface like curtains.  Across the bottom there is a design-like twisted shape in the middle in purple/gray.  Along the bottom two larger areas of yellow bracket a pink rectangle that hangs on bronze strings like a banner without a name.  The composition regains a sort of architectural order with turquoise and pink lines near the center of the painting.  There are many fragments of colors and lens like shapes throughout the painting. 

 

The exhibition’s title WCW is in homage to the American Modernist poet William Carlos Williams whose work the artist has long admired and is evident in the titles chosen such as “red wheelbarrow”.  The poet’s friend, Kenneth Burke, said that poetry is “equipment for living, a necessary guide amid the bewilderments of life”.  Rolph’s new paintings are built around and above model airplane instructions that work as a backdrop for his sharp, delicate, painterly and emotive compositions.  The idea of creating and exploration is thus embedded in the background, and serves as a metaphor for the artist’s studio. 

 

Looping painted lines of color, purple, teal and blue among them, float above as navigational devices.  Prints, watercolors and drawings jostle for attention around all of Rolph’s compositions.  The work throughout the exhibition is a visual equivalent of a poem.

 

Rolph has an MA in painting from the Royal College of Art, London and was the Rome Scholarship at the British School at Rome. His recent solo exhibitions include ‘Painted on the sky’, Barbara Davis Gallery, Houston; ‘Recollection’, 532 Gallery; ‘Atelier’, E.S.A.D. Valence, France; ‘kissing balloons in the jungle’, Poppy Sebire gallery, London; ‘ten minutes from now’, Eden Rock Gallery, St.Barths.  His work is represented in many international collections including the Metropolitan Museum of Art, New York and the Tate Gallery, London.

 

For more information, please contact the gallery at info@532gallery.com

 

                                       

Categories: Exhibitions Past