Castles in the Sky Fantasy Architecture in Contemporary Art
Exhibition Opening: Friday, February 15th, 2019
Press Preview: 5:00-6:00pm
VIP Preview: 6:00-7:00pm
Opening Reception: 7:00-9:00pm
Gallery Tour by Bartholomew Bland, Executive Director, Lehman College Art Gallery and Curator of the show: Sunday, February 17th, 2019 – 2:00-3:00pm
Curated by Bartholomew Bland, Executive Director, Lehman College Art Gallery/CUNY
Venue Curator in Miami: Yuneikys (Yuni) Villalonga, Chief Curator, Coral Gables Museum
PARTICIPATING ARTISTS: Gustavo Acosta, Diane Arbus, Clint Baclawski, John Bowman, Hannah Brenner-Leonard, Michele Brody, Adrien Broom, Dean Byington, James Casebere, Laurent Chéhère, Thomas Cole, Beatrice Coron, Will Cotton, William Richard Crutchfield, Linda L. Cunningham, Salvador Dalí, Thomas Doyle, Peter Hamlin, Cameron Hayes, Robert Hite, Julie Langsam, Armando Marino, Jonathan Monaghan, Juan Garcia-Nunez, Claes Oldenburg, Lothar Osterburg, Kevin M. Paulsen, Rachel Sydlowski, Eric Wesley and Danwen Xing.
Carlos Rodríguez Cárdenas, born in 1962 in Santi Spiritus, Villa Clara, is one of the important Cuban artists who came to contemporary art spotlight in the mid-1980’s. Since that time, his exile in Mexico in the early 1990s and settling in New York, his work has been known for its exquisite and ironic artistry, inviting the viewer to question reality and see beyond the world of the official word imposed by the system.
In his most recent work, Cárdenas rekindles the nature and landscape of New York and depicts the megalopolis in a more sobering new order with a balance of Cartesian-like geometries. His pictorial conventions are characterized by subtle counterpoints, mysticism and rationality, the yin and yang of the natural and urban environment.
Cárdenas is in major collections, including Whitney Museum of American Art, New York; Peter Ludwig Museum, Cologne, Germany; Ludwig Forum for International Art, Aachen, Germany; Museum of Art Fort Lauderdale; Museo Provincial de Santa Clara, Villa Clara; and National Museum of Fine Arts Havana, Cuba — as well as many private collections. He has exhibited internationally, including solo exhibitions at GE Galeria, Mexico; Galeria Nina Menocal, Mexico; Galeria Ramis F. Barquet, Madrid, Spain; Fredric Snitzer Gallery, Coral Gables; and ARCO 93 International Art Fair, Madrid. Group shows in which he has been featured include the Walker Art Center, Minneapolis; Museum of Fine Arts, Houston; Perez Art Museum, Miami; 1989 Havana Biennial; Stadtische Kunsthalle,Dusseldorf, Germany; Centro Atlantico de Arte Moderno, Las Plasmas de Gran Canaria, Spain; and Samuel P. Hart Museum of Art. He earned the Collective Prize Cuban Painting, awarded to participate at the First Biennial Jaume Guasch, Barcelona, Spain. Cárdenas completed his arts studies in 1983 in Havana’s Instituto Superior de Arte (ISA), and currently lives and works in New York City.
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.
Jose Angel Vincench The Burden of Words
January 24 – February 23, 2019
In The Burden OfWords, 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.
Sky Kim lives and works in the New York City area. Born in Seoul, Korea and she received a M.F.A in Painting from Pratt Institute. She is a recipient of the National Museum of Contemporary Art’s National Korean Art Competition Awards and a Pratt Institute Art Grant. She has exhibited in major venues around the world and has been exhibiting and lecturing as a guest artist at universities, including University of Nevada in NV, Bloomsburg University of Pennsylvania and St. Joseph’s University in PA.
Pratt Institute; Brooklyn, N.Y
Master of Fine Arts in Painting (Graduated with Honors)
Solo & Two Person Exhibitions
2018 ‘Expanding Space Time’, Korean Cultural Center/Embassy of the Republic of Korea, Washington DC
‘Divine Thread’, Filo Sofi Arts Gallery, New York, NY
2017 ‘Pulse Art Fair Solo Show’, Miami Beach, FL
‘Sky Kim & Curtis Bartone’, PrattMWP Gallery in the Museum of Art, Utica, NY
2015 ‘Quantum One’, St. Joseph’s University Gallery, Philadelphia, PA
2014 ‘Mapping Out the Matrix’, Tinney Contemporary, Nashville, TN
2012 ‘One Spirit, One Breath’, Haas Gallery, Bloomsburg University of Pennsylvania, PA
‘Sacred Geometry’, chashama Gallery, New York, NY
2011 ‘Reiterate the Repeat’, Sheppard Gallery, University of Nevada, NV
‘Sea of SAMSARA’, Dalet Gallery, Philadelphia, PA
‘SAMSARA’, Earlville Opera House Arts Center, NY
2010 NARS Open Studios Visiting Artist, NARS Foundation, Brooklyn, NY
2008 ‘Two Person Show’, Gallery Oms, Fort Lee, NJ
2002 Duck-won Gallery, Seoul, Korea
1998 ‘Images of Beauty’, The Right Bank Gallery, New York
1998 Dada Gallery, Seoul, Korea
Selected Group Exhibitions
2018 ‘CONTEXT Art Miami Art Fair’, Miami, FL
‘Affordable Art Fair’, Hamburg, Germany
‘Fire in the Belly’, Burnette Gallery, Woodstock, NY
‘Spring Show 18’, Galleri Oxholm, Copenhagen, Denmark
2017 ‘Truth’, BRIC, Brooklyn, NY
‘On Belonging and The Void Between’, Gallery Aferro, Newark, NJ
‘Personal Tesserac’, Spring/Break Art Show, New York, NY
2016 ‘Rind’, Carrie Able Gallery, Brooklyn, NY
‘Beep International Painting Prize’, Elysium Gallery, Swansea Wales, UK
‘Pin It Up’, The Drawing Rooms, Jersey City, NJ
‘Errand into The Maze’, Art House Productions, Jersey City, NJ
‘Beep International Painting Prize’, Elysium Gallery, Wrenxham Wales, UK
‘On Site in 16 Cities’, Berlin Collective world tour exhibition, Berlin, Germany, Sydney, Australia
2015 ‘EXIT Cartografía de la Creatividad’, The Museo De Arte De Sinaloa (Sinaloa Art Museum), Sinaloa, Mexico.
‘Working Artist’, Academic Gallery, Long Island City, NY
‘Asian Art 40 Years: Contemporary Views’, QCC Gallery, The City University of New York, NY
2014 ‘Leaps into the Void: Shamanism, Meditation, Transcendence, Oblivion’, Garis & Hahn Gallery, New York, NY
‘The Draftsmen’s Congress’, The New Museum, New York, NY
2013 ‘ASlAP’, Dumbo Art Gallery, Brooklyn, NY
‘Unsteady Ground’, City without Walls, Newark, NJ
‘Breaking Open’, Blank Space, Oslo, Norway
2012 ‘GLAAD Art Auction’, Metropolitan Pavillion, New York, NY
‘DUMBO Arts Festival’, Brooklyn, NY
‘Subjective Objective’, Victory Arts Projects Art Center, City, NJ
‘Elements’, Art House Productions, Jersey City, NJ
‘Re-imagine Ourselves’, Yara’s Winter Festival of New Art, Ukrainian Institute, NY, NY
2011 ‘Residue’, Boston Center for the Arts, Boston, MA
‘PIN-IT-UP’, Mana Contemporary, Jersey City, NJ
‘DUMBO Arts Festival’, Brooklyn, NY (September)
‘Homage to Morandi: Essence of Art’, Brain Factory, Seoul, Korea
‘Art: Gwangju’, Kimdaejung Convention Center, Gwangju, Korea
2011 ‘Evolution of Power Movements’, The Stoop Gallery, Brooklyn, NY
2010 ‘Private Eyes’, I Made an Art Gallery, Brooklyn, NY
‘Multiplied Within’, Able Fine Art NY Gallery, NYC
‘Made from Earth’, Jersey City Art Fair, Jersey City, NJ
‘Ecstatic’, Curious Matter Gallery, Jersey City, NJ
‘Fuzzy Logic’, Thompson Gallery, The Cambridge School of Weston, MA
‘Oddly Alive’, The Troy Art Center, Troy, NY
2009 ‘Subject to Change, Ox Gallery, Philadelphia, PA
‘The Post Party World’, Salon Ciel & Subdivision Art,Long Island City, NY
‘Fresh Asphalt’, Gallery Satori, NYC
‘Paintpresent’, Lexington Art League, Lexington, KY
‘The Sketchbook Project Tour’, Art House Gallery, Museum of Design Atlanta (Atlanta),
Museum of Contemporary Art DC (DC), Laconia Gallery (Boston), Antena Gallery, Chicago
Art Source Gallery (Chicago), Soulard Art Market (St. Louis), 3rdWard (Brooklyn)
2008 ‘Pot Shots at Hot Shots’, 3rdRail Studio, New Rochelle, NY
‘Starting Small’, Lana Santorelli Gallery, NYC
2007 ‘New ‘07’ NurtureArt Ten Year Anniversary Exhibition,The Cue Art Foundation,NYC
2005 ‘The Square Foot Show’, Art Gotham, NYC
‘Benefit Art Auction for New Orleans, Chi Gallery, Brooklyn ,New York
2003 – 2000 ‘Brooklyn Express’, Injae Art Museum, Joenju University, Duck-won Gallery, Korea
2000 ‘Forest of Humans & Forest of Paintings’, Kwangju Biennale 2000, Kwangju,Korea
‘The 14thKorean Art Competition’, National Museum of Contemporary Art, Korea
1999 ‘Confluence of Cultures’, Gallery Korea, Pratt Manhattan Gallery, Shaffler
Gallery, New York
1998 ‘Objects & Photo’, Eklektikos Gallery, Phoenix, Arizona
‘People Place Things’, Galleria Boricua, NYC
‘Version 21’, Tunnel, NYC
‘La Grande Salon’, Ridged Street Gallery, NYC
2018 ‘CONTEXT Art Miami Art Fair’, Miami, FL
‘Affordable Art Fair’, Hamburg, Germany
2017 ‘Pulse Art Fair’, Art Basel Miami, FL
‘Spring Break Art Show, New York, NY
2014 ‘ART TORONTO International Art Fair’, Toronto, Canada
2010 ‘Governors Island Art Fair, New York, NY
‘Affordable Art Fair”, Montclair Museum, NJ
2016 ‘Kunsthauset Messen’, Alvik, Norway
2014 ‘Art Kibbutz’, The New Museum, New York, NY
2013 ‘Vermont Studio Center’, Vermont, USA
2015 St. Joseph’s University Gallery, Philadelphia, PA
2012 Bloomsburg University of Pennsylvania, PA
2011 University of Nevada, NV
Work Review: Juxtapoz Magazine, 2017
Interview: Wall Street International, 2017
Exhibition Review: Artefuse, NY, 2014
Exhibition Review: Arts Observer, NY 2012
Exhibition Review: The Jersey City Independent, 2012
Exhibition Review: The Boston Globe, MA, 2011
Exhibition Review: The Philadelphia Inquirer, PA, 2011
Exhibition Review: The Post Standard, Syracuse, NY, 2011
Exhibition Review:WMBC-TV, NY, 2010
Interview: The Korea Daily, NY, 2010
Interview: Weekly SpotlightArtist in Artlog, 2009.
Exhibition Review: The Korea Herald, Korea, 2002
Exhibition Review: The Washington Post, Washington DC, 1997
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.
John Alexander Parks Putti
November 15 – December 22, 2018.
Please note that during Art Basel Miami December 4-9, the gallery will only open by appointment, We are returning to normal opening hours on after Dec 11th.
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 conventionand 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.
In our dreams, we unlock doors to unknown passages and climb unending stairs into the darkness of rooms, strange and never seen before. Not tied to the reality of bricks and mortar or ground and gravity, we imagine any structure ― the American “dream home” on a coveted suburban cul-de-sac beyond our reach, or the wild acid-trip floating balloon palace of a magical unicorn.
Jarring the laws of actual architecture, the imagined palace functions as very real foundation, buttress, and pillar for Castles in the Sky. From Claes Oldenburg’s proposal to replace the Washington Monument with a gigantic scissors to Laurie Simmons’ photograph of candy castles atop a cake weathering a blizzard of confectionary “snow,” the 30 artists in Castles in the Sky develop bizarre, impractical, enchanting, and inspiring unbuilt (and likely unbuildable) designs, and gather inspiration from famous sources.
Lother Osterberg draws from the etchings of 18th-century Italian artist Giovanni Battista Piranesi, the creator of images of dark and cavernous space― the nightmarish side of the architectural dream. Will Cotton’s candy castle represents a fantastical continuum of the art of 19th-century American landscape painter Thomas Cole, who, in Youth (1842), pictures a man rushing towards the mirage of a castle in the sky, the locus of all his youthful dreams. In Salvador Dali’s Gala’s Castle (1974) an elephant on attenuated legs tiptoes across a castle crenellation in Surrealist activity, which we spy, again, today, in Adrien Broom’s improbable scene of a Victorian woman standing in her drawing room open to the sky and filled with a wandering zebra.
This exhibition plays tribute to the ceaseless meanderings of the human imagination and the creative fantasy the hovers in the recesses of every artist’s mind.
The exhibition is organized by the Lehman College Art Gallery.
Exhibition Program Supporters:
New York City Department of Cultural Affairs in partnership with the City Council; New York City Council through the Honorable Andrew Cohen and the Bronx Delegation; Milton and Sally Avery Arts Foundation; Charina Foundation; Jarvis and Constance Doctorow Family Foundation; Medora and John Geary Family Fund; Edith and Herbert Lehman Foundation; and the New Yankee Stadium Community Benefits Fund.
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.
Geographical Mind in the Architecture of Landscape
September 13 – October 13, 2018
Jaeckel Gallery is pleased to present Geographical Mind in the Architecture of Landscape, an exhibition of recent works by Carlos Rodríguez Cárdenas. In his native Cuba during the 1980s, Carlos Rodríguez Cárdenas developed an influential style of painting that deployed irony, sly humor, and a shrewd parody of High-Modernist sophistication to mock the conceits of official state-sponsored imagery and utopian sloganeering. In Geographical Mind in the Architecture of Landscape Cárdenas turns a discerning eye toward the United States, delivering a body of work that seems at first glance like a love letter to the American landscape and to the modern city—New York being his adopted home of many years now—yet gradually reveals an undercurrent of wariness and disquiet about our national myths and pretensions. Alongside this is an extended meditation on his own migrations, and on the endless tension between the fundamental human desire for stability and the inevitability of flux in our lives.
References to monumental constructions, modern technology, and utopian aspirations have always been a cornerstone of Cárdenas’s visual language. In these works, he uses such imagery to powerful effect, juxtaposing bold, semi-abstracted renditions of cityscapes and sea vessels with picturesque antique views of landmark buildings and collaged insets from maps of the U.S. and other countries; the combination evokes the grand narratives of progress and power that have always informed this country’s collective self-image, yet also makes these stories seem quaint, or even wistfully naive. The centerpiece of the show (The Journey, 2007-2018) is a frieze-like row of paintings with a squarely frontal view of tiny stylized skyscrapers and ships perched atop a massive wall of gargantuan bricks and gloomily featureless towers. The effect is something like the monotonous terrain of an old-school side-scrolling video game, suggesting perpetual travel with neither rest nor peace. Yet the varied light-blue shades of the bricks suggest expanses of open sky and sea, hinting at the possibility of freedom and escape from the strictures of law and dogma. The Bunker (2015) hints at similar notions via a pentaptych depicting a gargantuan seaborne ark/metropolis, while Geographical Mind(2018) combines a clock face, compass points, and small circular insets from road maps of the U.S., Cuba, and Mexico, referencing the age-old human drive to dominate nature’s unruliness (and our own) with artificially imposed systems and structures.
Cárdenas understands classic visual metaphors for our cities and landscapes well, and he quotes them to great effect. His minimal, stylizedbuildings are strongly reminiscent of works by other artists we associate with New York in its modernist heyday, ranging from the Precisionist Charles Sheeler and Charles Demuth to Georgia O’Keefe and even Joseph Cornell. Small rectangular patches in the diptych American Landscape (2015) recall the vast, clear skies in Ed Ruscha’s Hollywood and Standard Station paintings and the grand-scale mythologizing of the American landscape of the Hudson River School painters. The evocation of these great Modernist chroniclers of the American myth adds a poignant twinge to Cárdenas’s status as the perpetual outsider looking in.
His works are included in such major collections as the Whitney Museum of American Art in New York; the Museum of Fine Arts in Boston; the Museum of Art in Fort Lauderdale, Florida; the Museum Ludwig in Cologne, Germany; and Museo Nacional de Bellas Artes de La Habana in Havana.
For further information, please contact Jaeckel Gallery by phone at 1.917.701.3338, or by e-mail at firstname.lastname@example.org
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 email@example.com or visit www.532gallery.com
Lien Truong calls her recent works “a frenetic amalgamation of western and Asian painting techniques and philosophies.” The artist’s choice of materials—oils, silk, thread, cotton, acrylics, and antique 24k gold-leaf obi thread—create an absorbing cacophony of culture and honed skills. The series “Mutiny in the Garden,” in particular, take on varying and converging histories.
“The act of manipulating pigment over a support instantaneously embraces centuries of historical drawing and painting, art made integral with religious principles and cultural ideologies,” the artist says, in a statement. “I am at once undeniably seduced by the sensation and process of pushing material over a surface and at the same time curiously fixated on the present-day relevance and discoveries of these primordial acts. For me, the advancement of art and culture are parallel. Creating art becomes an illuminating act, one undertaken to understand contemporary doctrines by the study of evolving sentiments.”
The MACC exhibits the projects for its first four monumental works, which will be traveling along the Camino de Santiago.
Impulses and returns is a sculptural project linked to works that Susana Guerrero has been doing in recent years, which display relationships between autopsies, anatomies, deities and classical myths, traditions and popular superstitions.
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 firstname.lastname@example.org
532 Gallery is pleased to announce CODE, an exhibition of new paintings by RIME.
RIME’s studio work has frequently stripped out, isolated, reworked, and repositioned component features of his most elaborate graffiti pieces. His large bodily gestures of swooping letter serifs become expertly painted in studio, not street, media. The cartoon heraldic b-boys, mugs, and pinups guide the eye or float in giant fight clouds. The new works in CODE deconstruct the cartoonish figures to hints of them: a chin, an ear, a nose. The contour of furrowed foreheads implying consternation or surprise, a finger or two giving direction. A leg, a breast, a bum. A flowing hairstyle. They dance together to implied music. In something of a RIME tradition, where one or two eyes won’t do, an even-numbered row of eyeballs lines up. They might be breasts, too – this could go either way. The deconstructed figures bear at times deconstructed apparel and accessories: jewelry – the classic gold rope chain – and the suggestion of a Kangol or Borsalino hat. And RIME’s own body appears as well, reflected in the swooping gestures both as serigraph-flat arcs and painterly brushstrokes.
RIME had always been pro-organic, anti-artificial, in his work. You could see it in the graffiti: the sacred radius of the swing of the arm, the full dip in the knees and waist to a crouch. The ratio of the body to the work is absolutely essential in graffiti: it’s how the human meets the inanimate wall and scales itself to it. Never to measure, never to tape off, instead to use the sacred geometry of the body, of the confidence of style, of the moment, to divine proportions. But in a recent DMT experience RIME encountered a sense of how technologically coded our minds and existence are. He experienced what felt like an artificial, full color, three-dimensional program. He reconsidered the notion that this life, the universe, and consciousness was of organic origin. He felt the ones and zeros, the perfection of right angles, the grid structure undergirding the cosmos, and he began to work with what he had once closed off. The new works in CODE reflect this experience.
RIME was born in 1979 and grew up in Brooklyn, Staten Island and New Jersey. By the mid-1990s, he had emerged as one of the most passionate and dedicated graffiti writers of his generation, and in the twenty-seven-plus years since then, he has become one of graffiti’s greats. Drawing on an extensive knowledge of graffiti’s history of lettering styles and techniques, he has a visual vocabulary and versatility with letters nearly unparalleled worldwide and has held his own on walls with the best of the best.
…and still we banter with the devil, 2017, oil, silk, acrylic, antique 24k gold leaf obi thread, 19th century American cotton on canvas, 72″ x 96″
Lien Truong’s art boldly investigates ideological models of our history and culture. In her most recent works, she combines the Hudson River Valley School “western” landscape, gestural abstractions, cultural textile designs, and compositions from Asian war prints. She mixes layers of images and departs from a standard visual experience. Truong’s landscapes and figures, culled from the historic and recent past, present “narrative histories” through a type of blended painting. Truong (MFA, Mills College) currently lives and works in North Carolina.
Truong has exhibited her work at such institutions as the National Portrait Gallery, Washington DC; the Oakland Museum of California; the Weatherspoon Museum; the North Carolina Museum of Art; and the Pennsylvania Academy of Art. She has participated in artist residencies at the Oakland Museum of California and the Marble House Project and has received reviews and mention in several publications including New American Paintings, ARTit Japan, and Art Asia Pacific.
SELECTED EXHIBITIONS 2018 In(di)visible, Station Museum of Contemporary Art, Houston, TX; Cameron Museum of Art, Wilmington, NC
2017 Translatio Imperii, Gutterbox Gallery, Raleigh, NC Digiscapes, Curated by Anthony Hamilton, Lump, Raleigh, NC Art on Paper, Curated by Emily Stamey, Weatherspoon Art Museum, Greensboro, NC Objectifying Myself: Works by Women Artists from the Pennsylvania Academy of Fine Arts, William Benton Museum of Art, Storrs, CT For Liberty and Justice for Some, Walter Maciel Gallery, Los Angeles, CA Shimmer, Light and Design Gallery, Chapel Hill, NC 2016Seeping of a Ghost, Gallery Bastejs, Riga, Latvia (solo) Musings on an Origin, Spectre Arts, Durham, NC Typecast, Hillyer Art Space, Washington, DC 2015Heterotopias as Other, Nha San Collective, Hanoi, Vietnam (solo) 2014 The Orient, The Occident, Galerie Quynh, Ho Chi Minh City, Vietnam (solo) Summer Shuffle: Contemporary Art @ PAFA Remixed, Pennsylvania Academy of Fine Arts The Mother Load, The Center for Creative Connections, Dallas Museum of Art, TX
2013 Contemporary Vietnamerican Art, Maier Museum of Art, Lynchburg, VAThe
Linda Lee Alter Collection of Art by Women, Pennsylvania Academy of Fine Arts, PA
2012 Alter/Altar: Meditations on the Past, The Morris and Gwendolyn Cafritz Foundation Art Center Collisions of Clamor and Calm, Galerie Quynh, HCMC, Vietnam Art HK 12, Hong Kong International Art Fair, with Galerie Quynh 2011 Bite Sized Monsters, Modern Eden, San Francisco, CA
2010 Twombly House/Ephemeral Museum, Portland, OR Outwin Boochever Portrait Exhibition, National Portrait Gallery, Smithsonian Institution, Washington D.C
2009 Family Pictures, Root Division, San Francisco, CA
2008 In Transition Russia, Municipal Centre for Contemporary Art, Yekaterinburg
National Centre for Contemporary Arts, Moscow, Russia
2007 House of Adoration, Galerie Quynh Contemporary Art, HCMC, Vietnam (solo) House of Adoration, Ryllega Experimental Art Gallery, Hanoi, Vietnam (solo) Small Works, Morris Graves Museum of Art, Eureka, CA
2006 Portrait of a Contemporary Family, First Street Gallery, Eureka, CA
Portrait of a Family, Southern Exposure, San Francisco, CA National Juried Exhibition, Marin Art Center, Marin, CA Juror: Rene de Guzman Small Works Invitational, Gallery Dog, Eureka, CA Out of Context, Huntington Beach Art Center, Huntington Beach, CA Face Paint, Bucheon Gallery, San Francisco, CA
2004 Monster Drawing Rally, Southern Exposure, San Francisco, CA Supernatural, Southern Exposure, San Francisco, CA Go West! Richmond Art Center, Richmond, CA 2003 Modern Day Fairy Tales, Oakland Museum of California, CA (installation)
PUBLIC COLLECTIONS Weatherspoon Art Museum
North Carolina Museum of Art Pennsylvania Academy of Fine Art, in the Linda Lee Alter Collection of Art by Women
Post Vidai, Vietnam
Royal Melbourne Institute of Technology, Vietnam
Municipal Art Collection, City of Raleigh, NC Humboldt State University
SELECT AWARDS | RESIDENCIES
2016 North Carolina Artist Fellowship, North Carolina Arts Council Artist-in-Residence, The Marble House Project, Dorset, Vermont 2015 Jimmy and Judy Cox Asia Initiative Award, Carolina Asia Center
2009 Outwin Boochever Portrait Finalist, National Portrait Gallery, Washington DC
Ingrid Nickelson Artist Trust Grant
2003 Artist-in-Residence, Sweeney Granite Mountains Research Center, University of California at Riverside, Kelso, CA
Artist-in-Residence, Oakland Museum of California, Oakland CA
2000 Jack and Gertrude Murphy Fine Arts Fellowship, The San Francisco Foundation, San Francisco, CA
SELECT ARTIST LECTURES
2017 Weatherspoon Art Museum, Greensboro, NC
2016 Mark Rothko International Art Center and Museum, Daugavpils, Latvia
Lavtian Art Academy, Riga, Latvia
Marble House Project, Dorset, VT
2015 Ackland Museum of Art, NC
Nha San Art Collective, Hanoi, Vietnam
2007 Morris Graves Museum of Art, Eureka, CA
Galerie Quynh, Ho Chi Minh City, Vietnam
2004 Huntington Beach Art Center, Huntington Beach, CA
2004 Southern Exposure, San Francisco, CA
2003 Oakland Museum of California, Oakland, CA
SELECT REVIEWS | CITATIONS
2018 Glentzer, Molly, “…and still we banter with the Devil by Lien Truong,” The Houston Chronicle, March 21, 2018
2017 Dunne, Susan, “Women Create Art Reflecting Their Lives, Thoughts In Benton Exhibit,” Hartford Courant, April 8, 2017
2016 Vitiello, Chris, “The Most Essential Local Art of 2016 Punched Back at a Disgraceful Year,” Indyweek, December 28, 2016
Stamey, Emily. New American Paintings. Issue 124. Boston, MA: The Open Studios Press, June/July, 2016
2014 Luong, Ruben. “Ho Chi Minh City,” Art Asia Pacific. Art Asia Pacific Publishing LLC, July/August 2014
Bernstein, Roselyn. “Between Underground and Above,” Guernica/magazine of art and politics, www.guernicamag.com
2012 Cozzolino, Robert, Editor “The Female Gaze, The Linda Lee Alter Collection of Art by Women” Pennsylvania Academy Fine Arts
2010 Buckner, Clark with Introduction by Helfand, Glen. “A Year and a Half of Art in San Francisco,” Mission 17 Gallery
San Francisco, CA: M17 Books Publishing, 2010
2009 “Outwin Boochever Portrait Exhibition,” National Portrait Gallery Catalog, Smithsonian, Washington DC
2007 Uda, Motoko, “Lien Truong,” ARTit Japan’s Bilingual Art Quarterly, Issue 16, 2007
2005 “Out of Context,” The Huntington Beach Art Center Exhibition Catalogue, CA, 2005
2004 Ellegood,Anne. New American Paintings. Issue 49. Boston, MA: The Open Studios Press, January, 2004
Bing, Alison. “Portrait of a Contemporary Family,” The San Francisco Chronicle, www.sfgate.com, March 26, 2004
Buckner, Clark. “Portraits of a Family,” Critics Choice Review, The San Francisco Bay Guardian. San Francisco, CA, March 17
RIME was born in 1979 and grew up in Brooklyn, Staten Island and New Jersey.By the mid-1990s, he had emerged as one of the most passionate and dedicated graffiti writers of his generation, and in the twenty-seven-plus years since then, he has become one of graffiti’s greats.Drawing on an extensive knowledge of graffiti’s history of lettering styles and techniques, he has a visual vocabulary and versatility with letters nearly unparalleled worldwide and has held his own on walls with the best of the best.
RIME has a knowledge of and facility with the entire vocabulary of graffiti lettering styles that is nearly unparalleled worldwide. He can paint pieces in what seems to be nearly every style from throughout graffiti’s fifty year history, yet they always feel fresh, not derivative, and always his own. Brooklyn born, Staten Island raised, and longtime New Jersey resident RIME’s playful, character-filled work is full of color and movement, and from simple to complex, from soft to jagged, he is one of the few who can truly do it all in graffiti. If he can’t, his alter-alter ego, quasi-performance artist JERSEY JOE probably can.
RIME’s knack as a graffiti writer is much like that of a great jazz musician: he is able to elevate everyone’s level of play with his presence. At this point in his life, RIME has painted alongside as many of the greats of graffiti as anyone, and he’s brought out the best in them. With a background of such versatility and strong individual performance, RIME moved to California from 2005 to 2013, becoming part of the great Los Angeles crews MSK and AWR. Culturally, the more laid-back collective attitude was an adjustment: the abrasive, assertive energy that comes with an upbringing in New York City that didn’t always fit in. But RIME was more active than ever, with the weather making for a pleasurable year-round experience.
When it came to studio work, the dynamic was very different. While he had made works on canvas before, he felt at something of a dead end, and RIME wanted to go back to basics before moving forward again. In great demand to paint and appear at graffiti events, where he would endlessly sign fans’ black books, RIME originally focused on what was portable and familiar, working on paper and finding the direction he wanted to pursue. After resettling back in New York in 2013, he set up a formal studio practice for the first time, cut far back on travel, and focused his energies deeply into new bodies of studio work while still actively painting outdoors.
RIME’s new studio works are dynamic, with the swoops and loops that he had perfected in graffiti with a combination of spray paint and sublime muscle memory and bodily control able to convey an emotional emphasis. His signature cartoon characters peek out from the bends of these swoops, often reduced to suggestive figurative elements. The color schemes of his outdoor pieces, were, like any graffiti writer, made with whatever happened to be in the bag of paint that day, far out in the field, and often that meant wild pieces with dozens of colors. Yet his studio works pared these schemes down to a few well-chosen colors that played brilliantly together. Like his graffiti pieces, RIME’s studio works are composed in a format meant to be read: figurative images are often presented in profile or in action, carrying a sequential order through the image, an algebra of image, phrase, and meaning.
RIME had always been pro-organic, anti-artificial, in his work. You could see it in the graffiti: the sacred radius of the swing of the arm, the full dip in the knees and waist to a crouch. Never to measure, never to tape off, instead to use the sacred geometry of the body, of the confidence of style, of the moment, to divine proportions. But in a recent DMT experience he encountered a sense of how technologically coded our minds and existence are. He experienced what felt like an artificial, full color, three-dimensional program. He reconsidered the notion that this life, the universe, and consciousness was of organic origin. He felt the ones and zeros, the perfection of right angles, the grid structure undergirding the cosmos, and he began to work with what he had once closed off.
2017 Up on Through,Galerie Wallworks, Paris
2016 Conclusions, Jonathan LeVine Gallery, New York
2015Danger Zone, Galerie Wallworks
2014 Reaction Lines, Galerie Wallworks
2013 Out With The Old, Library Street Collective, Detroit
TWFSL, The Seventh Letter Gallery, Los Angeles
2012 Sketchy M@#%herfuckers [with KC], Known Gallery, Los Angeles
Dangerous Drawings About New York [with Toper], Klughaus Gallery, New York
2011 Perseverance [with Roid and Revok], Known Gallery, Los Angeles
Mural for Art in the Streets, MoCA, Los Angeles
2008 Will Rise, Robert Burman Gallery, Los Angeles
2006 Letters First [with The Seventh Letter], Tokyo and Taipei
2004 Application, Perth Institute of Contemporary Arts, Perth, Australia
Transparent III, 2017, oil on canvas, 69 x 48, 170 x 120 cm
Per Adolfsen lives and works in Odense, Denmark, where he was born in 1964. His earlier work comprised emotionally charged acrylic paintings that seamlessly merge representational and abstraction and text, and engaged the viewer in a seductive world of fantasy and uncertainty that recalls classic Scandinavian angst. His most recent contemplative oil paintings, a marked break with his prior series, demonstrates his evolving commitment to using the medium as tool for breaking past stereotype and false exteriors in order to know other people and one’s self. The neutral palette and minimal backgrounds in many pieces allow the viewer to be fully focused on the people foregrounded in the paintings and punctuated by moments of brilliant color—a lavender head scarf, crystalline blue eyes. Adolfsen’s recent portraiture points the way toward an ethical vision by seeking to represent the colorful bonds that tie people together.
Select Solo Exhibitions
2018 “The Ribbons That Tie Us”, 532 Gallery Thomas Jaeckel, New York
2013 ”Goodbye Blue sky”, Schuebbe Projects , Düsseldorf
2011 ”The Imaginary Eden of Mr. Adolfsen”, Art Labor Gallery, Shanghai
2011 ”Lifewire”, Schuebbe Projects, Düsseldorf
2010 ”The world is floating”, 532 Gallery Thomas Jaeckel, Chelsea, New York
Select Group Exhibitions
2018. “Ten Years After” 532 Gallery Thomas Jaeckel , New York
2017 “Ecco Homo Ecco Homo” St Canscius Kirche Berlin, Curated by A. Ochs, Berlin
532 Gallery is pleased to present our second solo exhibition with Danish painter Per Adolfsen. An exhibition of figurative works and portraiture from 2014 to the present The Ribbons That Tie Us showcases the artist’s sensitive rendering of his subjects’ inner lives. A marked break with his previous emotionally charged acrylic paintings that merged representation, abstraction, and text (exhibited at 532 Gallery Jaeckel in 2010), the contemplative oil paintings in The Ribbons That Tie Us demonstrate the artist’s evolving and deepening commitment to breaking past stereotype and false exteriors in order to truly know other people. The neutral palette and minimal backgrounds in many of his paintings allow the viewer to be fully present with the people foregrounded in them who are punctuated by moments of brilliant color—a lavender head scarf, crystalline blue eyes.
In his Transparent series, Adolfsen abandons the superficial cliché as a starting point and instead looks deeply to reveal the multifaceted psyche of his sitter, a fellow artist friend. Transparent II is bathed in an invigorating pale blue haze that permeates the woman’s skin and clothing. The border between her body and the background blurs at times. Is she in a state of dissipation or becoming? Regardless, she stands unperturbed: shoulders square with the viewer, lips cocked in a confident smirk. Not the mere object of a consuming gaze, the woman in Transparent II asserts her own agency by looking back at the viewer. Transparent III shows the same woman slightly larger than life. Once again meeting the viewer’s gaze with blue-green eyes—whose lids are described in sharp orange lines with the geometric structure of Cézanne’s graphite portraits—she appears relaxed, yet strong.
Transparent I reveals a different facet of Adolfsen’s artist friend, and by doing so gives the viewer a fuller picture of her. A powerful warm light threatens to overwhelm the figure—her skin and yellow camisole almost lost in the blinding glow of the background—yet her eyes securely anchor her in space and bind her to the viewer even while a series of quick, repetitive diagonal strokes describing her hair bely an inner anxiety.
Adolfsen’s series of portraits of his Danish-Muslim friend Hibba are the apogee of his journey into empathic, deep looking. In Hibba I we see the bold contour of Hibba’s dignified profile against a background of alabastrine white whose light infuses the composition with warm energy. Brushmarks delicately sitting on the surface of the canvas attentively describe Hibba’s eyes, eyebrows, lips; her self-assured expression and her gaze are simultaneously introspective and assertive. As in all four portraits of Hibba, cascading lines follow the folds of her lavender hijab, which Adolfsen renders beautiful without exoticizing.
In the Hibba series, as in the Transparent series, Adolfsen’s multiple portraits work in concert to reveal a fully dimensional personality. In Hibba II and Hibba III, Hibba looks out at the viewer with disarming humor. She seems to say, “I caught you looking at me. Well, I can look back at you, too!” In Hibba IV she retracts her gaze, and playfully rolls her eyes. Rather than rendering her the passive object of the artist’s gaze, Adolfsen has opened a space where Hibba asserts her own agency.
In contemporary North America and Europe countless phobic and stereotypical images portray Muslim women as either cold and threatening or as helpless and oppressed. (In canonical Western painting Muslim women have been largely invisible, save for their exoticization in nineteenth-century “Orientalist” works.) At other times today, the Muslim woman becomes a political icon, as in Shepard Fairey’s We the People posters (2017), one of which features Queens resident Munira Ahmed wearing a United States flag as hijab. Adolfsen’s Hibba overcomes both extremes: stereotype and icon. By looking and looking again, he is able to truly see Hibba and know who she is outside of any political rhetoric, which in the present climate is paradoxically an implicit political act.
In 2014 Adolfsen painted a series exploring clichéd images of femininity. The most sophisticated works in this series occupy an ambivalent territory: on the one hand they investigate the flattening effects of stereotypes, which he imports from both the weighty tradition of Western figurative painting and contemporary advertising; but on the other hand, they begin to dismantle stereotypical roles and gazes by revealing an emerging agency in their female subjects.
In a pose that could have been appropriated from a cosmetics or facial cleanser advertisement, the poised figure in profile in Spanish Woman looms monumental. The side of her face, cast in cool maroon shadow, deflects the viewer’s gaze forcing it to ricochet among the patterns of painted parallel streaks composing her face and the background. Lubricious painterly lines fluidly slide along the figure in Berlin Woman who stares at the viewer with an intensity that recalls the paintings of Die Brücke. Her nakedness and closed body language suggest vulnerability and guardedness; her clenched fist indicates a latent ferocity. The pose is one that could have been taken from any number of titillating, sexy advertisements, but the figure’s psychological intensity—reinforced by the fiery orange shadows around the eyes—and the androgynous queering of gender defy prepackaged commercial messaging.
The Ribbons That Tie Us (2016)
The exhibition’s title The Ribbons That Tie Us refers to a homonymous series of still lifes included in the show, in which painted bands of ribbon glide back and forth across the surface of the canvas like dancers entering and exiting a stage. In one, orange ribbons occasionally twist and turn abruptly, like leaps and pauses in the choreography. The warmth of this painting’s color and the energy of its movement echoes the vitality of the portraits in the Transparent and Hibba series. In this way the ribbon paintings and their title serve as a metaphor for the relational character of the figurative work throughout the exhibition. In the journey from clichéd images to intimate renderings of friends, Adolfsen uncovers the colorful psychical, emotional, and empathic bonds that tie the artist to his subjects and, in turn, the viewer to the artwork.
Born in 1964, self-taught Danish painter Per Adolfsen has shown his work in New York, Germany, Hong Kong, and Denmark. His exhibitions include several gallery and museum exhibitions, including at the Frederikshavn Kunstmuseum- og Exlibrissamling and at the Kastrupgaardsamlingen. The Ribbons That Tie Us is Adolfsen’s second solo exhibition at 532 Gallery.
Celebrating its 10th year, 532 Gallery’s objective is to present fresh, vibrant works that capture the aesthetic dynamics of 21st century. The gallery represents a group of international artists who are producing significant works of lasting value that explore, engage and resonate with contemporary visual culture.