[{"id":"71956","title":"Tania Marmolejo "What Was Saved from the Fire" @ Loyal Gallery, Stockholm","alias":"tania-marmolejo-what-was-saved-from-the-fire-loyal-gallery-stockholm","catid":"19","published":"1","introtext":"Loyal Gallery in Stockholm is about to close Tania Marmolejo's What Was Saved from the Fire, a solo exhibition of twelve oil paintings installed over two floors of the gallery. Before the show c<\/span><\/span>","fulltext":"

I have often been asked which of my possessions I would save from a fire, and without hesitation I answer \u201cMy grandmother Elsa\u2019s sketchbook\u201d. It is without a doubt the possession that is most attached to me emotionally, a compilation of drawings made by my Swedish maternal grandmother Elsa when she was a young teenager, teaching herself how to draw.<\/em><\/p>\r\n

I sadly never met Elsa, she died before I was born. Fire is what tragically took her life, but fire is also the passion she had for art, that I feel got passed down to me and has connected me to her in many ways. I was always fascinated by her drawings since I was a little girl, and they were the biggest influence in my own desire to draw and paint. And though she was also a painter and mastered her craft, it was her sketchbook full of cartoons that captivated my attention the most.<\/em><\/p>\r\n

A frustrated artist, Elsa wished as a young woman that she could have studied art in Stockholm, but the economic and gender boundaries of the time prohibited her from doing so. Growing up in a home that fully supported my own artistic passions, and being allowed to study and to pursue art as a career, I feel I am now happily responsible for carrying on her dream somehow. I feel incredibly humbled and proud that I have the chance to show some of my favorite of her sketches next to my paintings, (in Stockholm!) and show how her story has come full circle.<\/em><\/p>\r\n

The paintings I created for this exhibition reflect a nostalgia for my childhood summers spent in Sweden, the happy memories that connect me to my mother and grandmother\u2019s homeland. I\u2019ve added a couple of her little drawings to a few paintings of mine to show the presence they have always had. Taking reference from old photographs in the use of color and mood, and also from the memories and emotions that come from those moments, I\u2019ve created an emotional and mental conversation with Elsa (and hopefully with the viewer), of experiences I would have liked to have shared with her, an acknowledgement of what her art and being connected to Sweden always meant to me, and an appreciation of how life can be such a fragile, fleeting, beautiful thing. <\/em>\u2013Tania Marmolejo, May 2023<\/p>","video":null,"gallery":"{gallery}71956{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"What Was Saved from the Fire\"},{\"id\":\"3\",\"value\":\"Tania Marmolejo\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2023-06-01\"},{\"id\":\"2\",\"value\":\"2023-07-08\"},{\"id\":\"10\",\"value\":\"Loyal Gallery, 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Loyal<\/a> Gallery in Stockholm is about to close Tania Marmolejo<\/a>'s What Was Saved from the Fire<\/em>, a solo exhibition of twelve oil paintings installed over two floors of the gallery. Before the show comes down on July 8, we wanted to share Tania's essay about the show, which you can read below. <\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"71950","title":"Sahara Longe Has "New Shapes" @ Timothy Taylor, London","alias":"sahara-longe-has-new-shapes-timothy-taylor-london","catid":"19","published":"1","introtext":"Timothy Taylor is pleased to present New Shapes, a new exhibition by British artist Sahara Longe, on view at the London gallery through July 8, 2023. This is the artist\u2019s first solo exhibition<\/span><\/span>","fulltext":"

In Longe\u2019s new body of work, highly stylized abstraction overlays a documentary approach. Like the British painter L.S. Lowry, whose cartoon-like crowd scenes of industrial English workers influenced Longe, the artist takes the everyday for inspiration: the crowd passing through her local Brixton train station, sports, offices, or people walking in the street. Though Longe provides no hint of context, her paintings give a sense of peering into a vitrine, a voyeuristic act both hidden and revealed. They burn with quiet sympathy for the men and women she translates, and their inability to reach past their own dissociation.<\/p>\r\n

The paintings recall ordinary social rituals, yet Longe imbues these scenes with discomfiting, uncanny abstract forms that allude to contemporary urban tensions. In Police Man<\/em> (2023), a large-scale dipytch, ghostly silhouettes confront a blue-suited London police officer. As in many of Longe\u2019s works, figures gaze past one another as if unaware of the presence of others, their blank expressions, bell-shaped coats and dresses, and frieze-like arrangement conspiring to distance them from the viewer.

Longe\u2019s interest in society as a kind of performance or facade has a strong tradition in post-war British portraiture. In Office<\/em> (2023), a diptych set in an office, three men and women in dark suits float around a black cube recalling the invisible cages of Francis Bacon\u2019s 1950s portraits, which referenced stages or arenas as metaphors for the repression of urban life. Though Longe provides no hint of context, her paintings give a sense of peering into a vitrine, a voyeuristic act both hidden and revealed. They burn with quiet sympathy for the men and women she translates, and their inability to reach past their own dissociation.

Painted in soft, murky shades of cobalt green, blue, and crisp cadmium white, Longe\u2019s paintings take a pared-down and focused approach to social documentation. \u201cThey\u2019re snapshots of people,\u201d Longe explains of the series. \u201cI imagine what people are doing, and saying, and create my own story about what their lives might be like.\u201d<\/p>","video":null,"gallery":"{gallery}71950{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"New Shapes\"},{\"id\":\"3\",\"value\":\"Sahara Longe\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2023-06-02\"},{\"id\":\"2\",\"value\":\"2023-07-08\"},{\"id\":\"10\",\"value\":\"Timothy Taylor, 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Timothy Taylor<\/a> is pleased to present New Shapes<\/em>, a new exhibition by British artist Sahara Longe<\/a>, on view at the London gallery through July 8, 2023. This is the artist\u2019s first solo exhibition with the gallery and first solo exhibition in the UK, which will be followed by a solo presentation of paintings at Frieze Seoul in September 2023. The title, New Shapes<\/em>, signals a newly geometric departure in the artist\u2019s compositions.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"71948","title":"The "Emotional Meat" of Reen Barrera is on @ Thinkspace Projects, Los Angeles","alias":"the-emotional-meat-of-reen-barrera-is-on-thinkspace-projects-los-angeles","catid":"19","published":"1","introtext":"Reen Barrera returns to Thinkspace Projects with his latest solo show, marking his biggest undertaking to date with the gallery. With an array of new works on canvas alongside a new collection of his<\/span><\/span>","fulltext":"

With Emotional Meat<\/em>, Barrera explores the contemporary generation\u2019s frantic demand for struggles and hustles. As many are fixated on succeeding, motivated by individualistic rationalities, often a disregard for the important aspect of one\u2019s existence comes to light.<\/p>\r\n

Imploring audiences to find their true pack, embrace family\u2013whether chosen or genetic\u2013Barrera reminds us to take a break from the grind and pay attention to what is truly important. \u201cThe memories, events, and essences that surround our lives that are often ignored are the ones that usually should be given importance,\" the artist says. \"To hold dear with all our might.\u201d<\/p>\r\n

In line with his previous work, Barrera has taken the idiom \u201cit\u2019s written all over your face\u201d to heart and beyond, crafting his work around a central character he created early on in his career as an artist. Ohlala embodies Barrera\u2019s thoughts, displaying them through a variety of colors painted on the being\u2019s face. This serves as a mechanism to silently communicate, focusing on the unspoken rather than what is loud and clear.<\/p>\r\n

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Reen Barrera<\/a> returns to Thinkspace Projects<\/a> with his latest solo show, marking his biggest undertaking to date with the gallery. With an array of new works on canvas alongside a new collection of his signature hand made sculptures, Barrera has created a show that is light and playful, while brimming with profound meaning and deep emotion.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"71946","title":"The Tame Dog and The Hare: Ai\u2606Madonna Makes Her US Debut @ GR Gallery, NYC","alias":"the-tame-dog-and-the-hare-ai-madonna-makes-her-us-debut-gr-gallery-nyc","catid":"19","published":"1","introtext":"GR gallery is pleased to announce The Tame Dog and The Hare, the first solo presentation of Tokyo-based artist, Ai\u2606Madonna, in the USA. The exhibition features the artist newest series of portraits<\/span><\/span>","fulltext":"

The Tame Dog and The Hare<\/em> is a gentle praise of freedom dedicated to all artists, progressively implying that creativity should never be tamed and obey to commands, but always unrestricted and able to pursue its goal. <\/p>\r\n

The works presented are the latest evolution of the series Can\u2019t Recall Her Face<\/em> started in 2010, where Ai\u2606Madonna painted front portraits of various teenage girls faces in the ethereal attempt to remember and depict her own. The exclusive focus on female personalities and the recurrent presence of the ideogram \u2018\u611b\u2019 (Ai) in the  pictures highlight the research of her lost childhood. <\/p>\r\n

In search of understanding how girlhood is presented, Ai\u2606Madonna looks back to her protagonists hypothetical past by highlighting profound moments of connection and intimacy in the attempt of helping each other bonding in creating a flawless imagery. The vivid Manga influences in the artist style are somehow overturned by the action of cutting out the body of the character, an action considered taboo in this realm, and leaving all the connections just to the expression of the face and the reflections in the eyes. After years of investigating this issue the artist felt like the square canvas boundaries couldn't restrain her \u2018girls\u2019 anymore so she decided to start performing on something new and more suitable for her expression by shaping the surfaces around the characters. <\/p>","video":null,"gallery":"{gallery}71946{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"The Tame Dog and The Hare\"},{\"id\":\"3\",\"value\":\"Ai\\u2606Madonna\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2023-07-07\"},{\"id\":\"2\",\"value\":\"2023-07-29\"},{\"id\":\"10\",\"value\":\"GR Gallery, NYC\"},{\"id\":\"9\",\"value\":\"New York\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"1\"},{\"id\":\"16\",\"value\":\"3\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":" The Tame Dog and The 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madonna","published":"1","link":"\/tag\/ai-madonna\/"},{"id":"25619","name":"gr gallery","published":"1","link":"\/tag\/gr-gallery\/"},{"id":"11712","name":"event","published":"1","link":"\/tag\/event\/"}],"imageXSmall":"\/media\/k2\/items\/cache\/62eb1cd2a095fe965e4c39d32200774b_XS.jpg?t=1688378224","imageSmall":"\/media\/k2\/items\/cache\/62eb1cd2a095fe965e4c39d32200774b_S.jpg?t=1688378224","imageMedium":"\/media\/k2\/items\/cache\/62eb1cd2a095fe965e4c39d32200774b_M.jpg?t=1688378224","imageLarge":"\/media\/k2\/items\/cache\/62eb1cd2a095fe965e4c39d32200774b_L.jpg?t=1688378224","imageXLarge":"\/media\/k2\/items\/cache\/62eb1cd2a095fe965e4c39d32200774b_XL.jpg?t=1688378224","imageGeneric":"\/media\/k2\/items\/cache\/62eb1cd2a095fe965e4c39d32200774b_Generic.jpg?t=1688378224","cleanTitle":"The Tame Dog and The Hare: Ai\u2606Madonna Makes Her US Debut @ GR Gallery, NYC","numOfComments":"0","text":"

GR gallery<\/a> is pleased to announce The Tame Dog and The Hare<\/em>, the first solo presentation of Tokyo-based artist, Ai\u2606Madonna<\/a>, in the USA. The exhibition features the artist newest series of portraits that derive from her recurring reveries, related to the almost total lack of childhood and adolescence memories. These artworks are the result of a systematic research and a fanciful visualization, of how her girlhood would have been. The show puts together 15 shaped artworks of various sizes, executed with the artist radical signature technique; Ai\u2606Madonna will complete a large live painting, as part of a performance, during the opening event.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"71941","title":""Good Love is Hard to Find": Marbie @ Hashimoto Contemporary, San Francisco","alias":"good-love-is-hard-to-find-marbie-hashimoto-contemporary-san-francisco","catid":"19","published":"1","introtext":"Hashimoto Contemporary is pleased to present Good Love is Hard to Find, a solo exhibition by Oakland-based artist Marbie. Continuing to draw inspiration from her friends and lovers through this colle<\/span><\/span>","fulltext":"

Best known as a professional skateboarder with There Skateboards, Marbie\u2019s work bridges the gap between a life in the public eye and one behind closed doors, depicting intimate scenes of solitude or unity. Each piece portrays a character based on people in the artist\u2019s life, who she renders in bold hues, the shapes and colors symbolizing an emotion or mood from a memory she wants to suspend in time. Her newest work focuses on sentiments that surface through the pursuit of romance, \u201cfrom falling for someone and fantasizing about them to feeling scared or heartbroken.\u201d These works locate a sense of extreme yearning or lust between the characters, who are about to caress one another or find themselves already in the throes of passion.<\/p>\r\n

No stranger to movement in her skateboarding life, Marbie fills each work with motion and gesture, showing the figures jumping, tumbling, dancing, or embracing\u2014an arm, leg, or torso is entwined with another body part. Even alone, the characters seem to swing or leap across the frame, as though the artist has captured them wantonly on the way to their next date. On these recent works, Marbie states she\u2019s \u201ctrying to capture all the emotions of dating again, like the dance of trying to impress someone or feeling insecure. Love is fun and scary. 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Hashimoto Contemporary<\/a> is pleased to present Good Love is Hard to Find<\/em>, a solo exhibition by Oakland-based artist Marbie<\/a>. Continuing to draw inspiration from her friends and lovers through this collection of vibrant new collages and paintings, this is the multidisciplinary artist\u2019s second solo presentation with the gallery.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"71940","title":"\u201cDon\u2019t disturb me, I\u2019m blooming\u201d is the Photosynthesis of F\u00e1tima de Juan","alias":"don-t-disturb-me-i-m-blooming-is-the-photosynthesis-of-fatima-de-juan","catid":"19","published":"1","introtext":"It is a sunny Saturday morning, in the middle of my summer vacation. I go into the garden. Here I am: \u201cDon't disturb me, I'm blooming\u201d. This is a moment of metamorphosis in which the body is impr<\/span><\/span>","fulltext":"

On this occasion, F\u00e1tima\u2019s women pass on a message of serenity and self-care. Their relaxed eyes and sheathed nails spread the peace that comes from stopping the fight when starting a new phase. Deep in their \u201cFlower fortress\u201d (2023), they transport us to a state of contemplation and connection with nature, recalling the importance of stopping and appreciating the natural environment within chaos. The fight is over.<\/p>\r\n

Through her works, de Juan reveals the splendor of flowers, these authentic ephemeral jewels of nature that follow their own laws and rhythms, alien to ours. They provide valuable lessons and encourage reflection on time and trust. Slow processes become beautiful in their continuous contemplation, like F\u00e1tima\u2019s crocodile, rejoicing in a cool garden in the painting \"Don\u2019t disturb me, I'm blooming\" (2023), which waters and baptizes this new project.<\/p>\r\n

The mesmerizing eyes of the \"Family Tree\" paintings lead these plant chandeliers that emerge from the ground towards the sky, reminiscent of the Gothic. They echo the cyclical restart of the seed that grows at its own pace and drives us towards a fantastic and playful universe, giving space to imagination. They prepare us for photosynthesis, a more organic and slower process, a dance to the rhythm of \"Plantasia\" (Mort Garson, 1976). Plants invite you to stop time and appreciate it as a gift. They encourage breaking it down into small delights, slowing down, and finding fulfillment in serenity. These works are a return to humor derived from tranquility, a return to Mediterranean slowness through the artist's language.

F\u00e1tima de Juan\u2019s artworks spark sensitivity and invite us to immerse ourselves in a world where nature and imagination are intertwined. They remind of the importance of caring for and appreciating our environment, as well as cultivating our own transformation and inner growth. On this occasion, F\u00e1tima enters a garden of sensations where nature becomes a catalyst for personal evolution. In the midst of a fast-paced world, these paintings invite us to stop, breathe and allow ourselves to flourish in our own authenticity. They give us a moment of introspection and connection to what is essential, inspiring us to embrace our florescence and find beauty in the small details of life.<\/p>\r\n

\u201cDon\u2019t disturb me, I\u2019m blooming\u201d is the photosynthesis of artist F\u00e1tima de Juan. \u2014Raquel Victoria
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It is a sunny Saturday morning, in the middle of my summer vacation. I go into the garden. Here I am: \u201cDon't disturb me, I'm blooming\u201d. This is a moment of metamorphosis in which the body is impregnated with energy and everything becomes an explosion of nature wrapped in vibrant colors and intoxicating aromas. The works presented by artist F\u00e1tima de Juan<\/a> (Juxtapoz Spring 2023 Cover artist<\/a>) trigger dreamlike sensations, memories. Room 1 at L21<\/a> Barcelona embraces us and transports us to the chapter \"Trees and flowers\" of the \"Silly Symphonies<\/em>\" (Disney, 1932). It makes us travel to Wonderland (Lewis Carroll, 1865). For this project, F\u00e1tima de Juan transforms the exhibition space into a fresh setting, with dreamy smells and colors that prepare and accompany us in this evolution towards flourishing and abundance.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"71927","title":"A Portfolio: Farah Atassi","alias":"a-portfolio-farah-atassi","catid":"19","published":"1","introtext":"On the occasion of Paris-based, Brussels-born Farah Atassi's solo show Mechanical Cabaret that just opened at Francois Ghebaly in LA, we dedicate today's A Portfolio to this spirited works <\/span><\/span>","fulltext":"

Characterized by vibrantly coloured geometric shapes and plays on perspective, Farah Atassi\u2019s paintings create imaginary yet inhabited spaces that, by means of their visual trickery confusing depth and imminence, are impossible to fully grasp. The artist employs two main, methodological building blocks: a meticulous collection of images and a masking tape grid laid out in order to systematise the patterns produced within the abandoned interiors or scenes akin to still lifes she depicts. Situated on the fringes of narration, her paintings mix textile patterns and motley mosaics, referencing Modernism and Folk Art in equal measure. 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On the occasion of Paris-based, Brussels-born Farah Atassi<\/a>'s solo show <\/strong>Mechanical Cabaret<\/em> that just opened at Francois Ghebaly<\/a> in LA, we dedicate today's A Portfolio<\/a> to this spirited works from the past few years. <\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"71934","title":"The Wonderful World of Margot In Margate","alias":"the-wonderful-world-of-margot-in-margate","catid":"19","published":"1","introtext":"Following her successful launch at the Turner Contemporary, Margo in Margate transfers her solo show to the Joseph Wales Gallery in the British seaside town of Margate. The Irish artist, aka &nbsp;Ma<\/span><\/span>","fulltext":"

Trained in applied art at Camberwell, Margo worked as a community artist and art teacher before moving to the Kent coast in 2010. In 2014, she committed to life as a full time artist and beginning her practice of daily painting. Her work, predominantly female portraiture, is instantly recognisable, with an other-worldly vintage feel; full of vibrant colour inspired by the youth culture of her muse, Margate.

This past weekend, her never-before-seen original canvases, together with new works on paper and hand- painted ceramics will be available to buy for just one day at the Foyle Rooms at the Turner Contemporary in Margate, before transferring to the Joseph Wales gallery in nearby Cliftonville the next day.

Margo in Margate at Joseph Wales Gallery closes on Saturday July 8th, 2023.<\/strong><\/em><\/p>\r\n

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in margate","published":"1","link":"\/tag\/margot-in-margate\/"},{"id":"20716","name":"painting","published":"1","link":"\/painting\/"},{"id":"11712","name":"event","published":"1","link":"\/tag\/event\/"}],"imageXSmall":"\/media\/k2\/items\/cache\/628b84be3d2dddf6de15322405f9cfbd_XS.jpg?t=1687865321","imageSmall":"\/media\/k2\/items\/cache\/628b84be3d2dddf6de15322405f9cfbd_S.jpg?t=1687865321","imageMedium":"\/media\/k2\/items\/cache\/628b84be3d2dddf6de15322405f9cfbd_M.jpg?t=1687865321","imageLarge":"\/media\/k2\/items\/cache\/628b84be3d2dddf6de15322405f9cfbd_L.jpg?t=1687865321","imageXLarge":"\/media\/k2\/items\/cache\/628b84be3d2dddf6de15322405f9cfbd_XL.jpg?t=1687865321","imageGeneric":"\/media\/k2\/items\/cache\/628b84be3d2dddf6de15322405f9cfbd_Generic.jpg?t=1687865321","cleanTitle":"The Wonderful World of Margot In Margate","numOfComments":"0","text":"

Following her successful launch at the Turner Contemporary, Margo in Margate<\/a> transfers her solo show to the Joseph Wales Gallery<\/a> in the British seaside town of Margate. The Irish artist, aka  Margo McDaid, has not stopped painting for nine years. Working every day in her Kent studio, she has quietly amassed a vast body of work; one artwork a day, every day, for 3,000 days. The demand for her work is just as prolific and she has gained a cult following online, with works selling out as quickly as she can upload them to her Instagram account. \u201cI literally live to paint \u2013every single day of my life starts the same way, as paintbrush in hand I create work all day long,\" Margot says. \"It is my joy and my passion and every single inch of my studio is completely covered with works on paper and canvas.\u201d<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"71916","title":"Jess Valice: When is a Good Time to Freak Out?","alias":"jess-valice-when-is-a-good-time-to-freak-out","catid":"30","published":"1","introtext":"The psychological impact of mass media has fascinated artists and cultural commentators since Marshall McLuhan and the 1960s. While evolving technologies enhance our activities exponentially, they al<\/span><\/span>","fulltext":"

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Jess Valice<\/h1>\r\n

When is a Good Time to Freak Out?<\/h2>\r\n

Interview by Charlotte Pyatt \/\/ Portrait by Dan Streit<\/p>\r\n<\/div>\r\n<\/header><\/div>\r\n

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The psychological impact of mass media has fascinated artists and cultural commentators since Marshall McLuhan and the 1960s. While evolving technologies enhance our activities exponentially, they also threaten our ability to consume and process information in a meaningful way as the volume and speed risk desensitizing our normal emotional responses and connection to the world. This \u2018cognitive overload' reverberates through the figurative portraits of Jess Valice.

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At first glance, there is a timeless quality to the impressive oversized figures, but a closer look reveals something eerily immediate, a familiarity we recognize in her primal landscapes. The focus is almost entirely on the central figure with minimal distractions. Doe-eyed, heavy hooded lids look out beyond the viewer with a melancholic stare that passes right through. While  expressions are neutral and their positions still, an emotional presence radiates through a rich palette of mauve skin undertones, emerald green fabric, and burnt amber backgrounds.<\/div>\r\n
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With inspiration from various sources, including studies with neuroscience, her journey navigates the weight of expectation, reflecting honesty and vulnerability. As we reach a saturation point, Valice suspends the audience in relatable moments of emotional resonance.<\/div>\r\n
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In a world of perpetual coping, when is a good time to freak out?<\/div>\r\n

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Charlotte Pyatt: A breakthrough exhibition, Human with Carl Kostyal In London last year and the recent launch of Arrhythmia in Paris with Stems\u2014you\u2019re coming in hot!<\/b><\/div>\r\n
Jess Valice: It\u2019s been wild. I took the following year really maturing in my work, slowing down and stepping back to look at each mark more carefully, which is more time-consuming than ever. I find now that I am more present with nature in terms of how things work, how bodies work, with a better understanding of the brevity of life and what that means to me.

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I visited the show in Paris and was surprised when you had so noticeably stripped back your compositions, focusing on the presence of your figures. Can you talk a little about your process?<\/b><\/div>\r\n
It\u2019s so funny because people take different things from them, some love the icons, and others, the environments. For me, I want to be hybrid in my own way, everyone existing in this liminal space, a nothingness that maybe mirrors the vacancy of expression while flirting with the potentiality of everything and nothing. For this show, I think I was more in touch with myself and my own personality and I\u2019m really excited to continue in this direction. Go deeper without fear toward something more gestural, more primal.<\/div>\r\n
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I find your DIY energy, especially as a self-taught artist, really inspiring, and I\u2019m sure other artists do too. Tell us more about how you came to art.<\/b><\/div>\r\n
I was studying biopsychology (which is the science of the brain and nervous system and how they influence behavior) and left my studies in pursuit of a career in the arts. Long story short, I started working in an artist studio where I expected to be learning with a brush in my hand. It was actually more of an instructive process on the ecosystem of the art world and the scene. Not only did I learn that being a full-time artist was possible, but the experience also taught me how to be tough enough to endure it.<\/span><\/div>\r\n
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So I never attended art school, I just read a lot of books. There was an eclectic range of paintings I was drawn to, from the innocent pink-cheeked baroque images of Fragonard to the expressive psychological markings of Bacon. It was fun and easy learning this way. Now that I'm reading about the abstract expressionist movement, I also draw a lot of inspiration from the Renaissance, particularly the expressive nature of the eyes and the pain they radiate. They are never the focus for the narrative but always have such a presence.<\/div>\r\n

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There is something poetic about studying the mind and then transitioning to the visual arts. I wonder what influence you feel one has on the other for your practice.<\/b><\/div>\r\n
I think that studying the body just made me more curious about people\u2019s minds. It\u2019s all so intricately linked. I think about placing characters in a certain environment and I enjoy observing the assumption that follows, that we know what they are thinking. No one knows where they\u2019ve been, but people use their own experiences to tell or complete the story. I have a lot of fun with that ambiguity. As a neuroscientist, you must be creative, as with all sciences. How we discover anything has to come from someone who is utterly insane. Without insanity, we have no creatives.<\/div>\r\n
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The eyes are an unmistakable characteristic of your work. How, if at all, do you consider traditional notions of the gaze?<\/b><\/div>\r\n
The gaze now, as it was then, wasn't about sex. Their gaze is more ambiguous, pulling you in, maybe a cry for help, maybe critiquing you. The traditional gaze has more intent and is loaded with the enormity of their experience. My characters are a little more disarming. I want you to stay with them, and them with you\u2026 just in the eyes. When I see my figures, usually I cannot place them in any category. I identify them as all me, and all everyone, like some primal unity and coexistence, I\u2019m not sure what that translates to, as we all see what we want to see.<\/div>\r\n
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For this interplay between the subconscious and conscious intent, how much of yourself do you think comes through your work?<\/b><\/div>\r\n
Probably more than I think. The characters are no one in particular, but parts of me permeate their identity and I find them there on reflection. These puffy swollen faces and heads, it\u2019s how I feel sometimes. I used to wake up with swollen hands and cheeks, that was my experience. These things we see or feel in our bodies and can recognize in others are more important than making everything anatomically correct. I see it in the details too. My dad\u2019s side of the family moved to Detroit from Italy in search of better opportunities and I'm certain that Italian iconography subconsciously filters into my work. For me to feel like I'm portraying them correctly, they need an attitude like they have just witnessed something, been affected by, or committed a crime associated with the mafia or war in general.<\/div>\r\n
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Ultimately, I don't think you can remove yourself from your past and you can't chase it; you would be tripping over your own shadow. Unfortunately, it doesn\u2019t stop me from trying! I\u2019m tripping almost every minute. Not doing so is a great mantra that I wish I could live by. Realistically, I have no free will.<\/div>\r\n

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On that point, while the work explores a deep focus on the self, how do you feel these themes reflect or engage with our present moment?<\/b><\/div>\r\n
There is this overwhelming sense of fatigue that I think is typifying our generation, the weight of a spectrum of emotional responses that digital space provokes in us every day. We have never been more exposed to devastating news stories, politics, war, fighting, and hunger. It\u2019s all so complex\u2014this is where the science and melancholia come in\u2014the recognition of this blankness as a widespread response. It\u2019s too much to feel. I would have a hard time painting someone crying. I don\u2019t want to show you the release\u2026 I want to show something else.<\/div>\r\n
 <\/div>\r\n
This idea of \u2018crisis\u2019 I think is so different now, and our methods of consuming information and coping with it are arguably far greater. Imagine 100 years ago hearing about a little button that someone could push that would wipe you out, there would be people screaming in the streets! I'm not sure we know when to freak out now, as we just perpetually cope in heightened states which again is where psychology comes into play. Why isn\u2019t anyone freaking out? As we filter such enormous amounts of terrifying information via our screens, when is a good time to freak out? The figures are more gentle reflections of this intensity, so I want them to stop you and then bother you later. Take a photo and you revisit it to torture yourself, haha, searching for where that familiarity is.<\/div>\r\n
 <\/div>\r\n
The role of the artist as an agent of change, or a mirror to society, is acknowledged, so how conscious are these notions in your practice?<\/b><\/div>\r\n
The other day I was speaking with a musician friend and the conversation was, \u201cWhat am I supposed to write about?\u201d Our brains are scrambled eggs, so it\u2019s so hard to be in one direction when we are led down a billion paths. AI is the same offering, a new wave of newness. Change is accelerating at such a rate, keeping everyone calm because they feel they are in motion. Feelings of uncertainty and the desire to be stimulated to the point of exhaustion\u2014they are the focus, overwhelmingly so. To not know the right answers is hard as if we cannot access truth. So what does any of it mean? There is so much to worry about, that we forget to worry about ourselves and then it's too late.<\/div>\r\n
 <\/div>\r\n
I have never considered my work political but I recognize that the work and the anxiety that resonates is impacted by these discussions. For the pressures themselves, I don\u2019t identify specific topics or dates, nor do I isolate them. The primal landscape of my work is relatable but not recognizable by design.<\/div>\r\n

 <\/p>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n

\r\n
\r\n
\r\n
<\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
\r\n
\r\n
\r\n
\r\n

\u201cThere is so much to worry about, that we forget to worry about ourselves and then it's too late..\u201d<\/p>\r\n<\/div>\r\n

\r\n

 <\/p>\r\n

What\u2019s coming up next?<\/b><\/div>\r\n
Next month I have a group show at Almine Rech in Brussels in advance of my solo exhibition with them in 2024, then Art21 with Carl Kostyal in Asia. I'm just really excited about having this time to focus, get back to inventing, and staring at the canvas until I'm ready to make a move. <\/div>\r\n

This interview was originally published in the Summer 2023 Quarterly <\/a>
<\/i><\/b><\/div>\r\n
@jessvalice<\/i><\/b><\/a><\/div>\r\n
jessvalice.com<\/i><\/b><\/a><\/div>\r\n

 <\/p>\r\n<\/div>\r\n<\/div>\r\n<\/section>\r\n<\/div>","video":null,"gallery":null,"extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"\"},{\"id\":\"3\",\"value\":\"\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"\"},{\"id\":\"2\",\"value\":\"\"},{\"id\":\"10\",\"value\":\"\"},{\"id\":\"9\",\"value\":\"\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"\"},{\"id\":\"16\",\"value\":\"\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":" ","created":"June 26, 2023","created_by":"18541","created_by_alias":"","checked_out":"0","checked_out_time":"0000-00-00 00:00:00","modified":"2023-06-24 09:55:23","modified_by":"18541","publish_up":"2023-06-26 07:43:09","publish_down":"0000-00-00 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The psychological impact of mass media has fascinated artists and cultural commentators since Marshall McLuhan and the 1960s. While evolving technologies enhance our activities exponentially, they also threaten our ability to consume and process information in a meaningful way as the volume and speed risk desensitizing our normal emotional responses and connection to the world. This \u2018cognitive overload' reverberates through the figurative portraits of Jess Valice.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"71919","title":"A Portfolio: The Newest Works of Khari Turner","alias":"a-portfolio-the-newest-works-of-khari-turner","catid":"19","published":"1","introtext":"On today's A Portfolio, we look at the new works by our old friend, Khari Turner, who presented Solid to Gas in London with Ross-Sutton Gallery earlier this month. It was his first new body of work i<\/span><\/span>","fulltext":"

I paint because of my understanding of my identity and history, recovering the air of a story. I imagine the personifications of the magic that is water. I use water from oceans, lakes, and rivers from places that have either a historical or personal connection to Black people -- water that I collect to mix with and pour onto my paintings.<\/em><\/p>\r\n

My paintings and drawings combine abstraction with realistic renderings of Black noses and lips to investigate the spiritual and physical record to my ancestor\u2019s relationships with water. The average body is made up of 60% water, the same water in these ethereal beings that inhabit the work. All the water on this earth is the same water that has always been on this earth. The knowledge water holds is in all of us, and the realization that we share this water is my focus. My work is constantly evolving, absorbing water and history as a material, painting to bring the stories of elegance and chaos that comes with this existence.<\/em><\/p>\r\n

The work in \u2019Solid to Gas\u2019 is the result of a deep dive into all these elements and trying to evaluate the line between water as solid to gas thinking about the water taking on a similar look and ideology in the work. \u2014Khari Turner<\/em><\/p>","video":null,"gallery":"{gallery}71919{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"\"},{\"id\":\"3\",\"value\":\"\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"\"},{\"id\":\"2\",\"value\":\"\"},{\"id\":\"10\",\"value\":\"\"},{\"id\":\"9\",\"value\":\"\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"\"},{\"id\":\"16\",\"value\":\"\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":" ","created":"June 26, 2023","created_by":"18541","created_by_alias":"","checked_out":"0","checked_out_time":"0000-00-00 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On today's A Portfolio,<\/a> we look at the new works by our old friend, Khari Turner<\/a>, who presented Solid to Gas<\/em> in London with Ross-Sutton Gallery<\/a> earlier this month. It was his first new body of work in over a year, and his first presentation in London. <\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"71917","title":"Jess Ackerman Presents "Always Been the Laughing Boy" in Portland","alias":"jess-ackerman-presents-always-been-the-laughing-boy-in-portland","catid":"19","published":"1","introtext":"Chefas Projects presents Portland-based artist Jess Ackerman for their inaugural solo exhibition with the gallery entitled Always Been the Laughing Boy. In Ackerman\u2019s latest collection of work, the<\/span><\/span>","fulltext":"

To take in Always Been the Laughing Boy<\/em> at first glance is to pick up on a jovial or celebratory vibe. Nowhere is that more evident than with \"It's Cake\/Strange High\" and its unique rendering of a multi-tiered birthday cake. Presented in a flat perspective, decorative layers of sugar and cream provide a feeling of euphoria though the inevitable sugar crash awaits. Upon closer examination, a sense of psychological unease begins to peer through the brushstrokes.

<\/strong>In \"Sorcerer's Apprentice\u201d, a figure is buried behind a book as if to cower away from the viewer and immerse themselves into an alternate reality. With \"Sucker,\" meanwhile, a flower and two vibrant color wheels extend away from a vase on thorny stems, imparting an aura of subtle anxiety.<\/p>\r\n

One might ultimately approach Always Been the Laughing Boy<\/em> as being jubilant in presentation but all too aware of its own underlying distress. Just as a clown or stand-up comedian doesn't show their dark side unless it's for laughs, Ackerman likewise puts on a colorful show while making only discreet nods toward the complex well from which these images arise.<\/p>\r\n

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Chefas Projects<\/a> presents Portland-based artist Jess Ackerman<\/a> for their inaugural solo exhibition with the gallery entitled Always Been the Laughing Boy<\/em>. In Ackerman\u2019s latest collection of work, the artist draws upon the \"sad clown paradox\"\u2014the psychological concept characterized by one\u2019s creation of light-hearted humor in public situations, despite inner turmoil. With expert use of color and imagery, Ackerman leans into highly emotive and personal narratives with a playful eye. Vibrant depictions of tulips, cake, and everyday objects are the visual lure for a deeper conversation.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"71909","title":"Alicia McCarthy, Muzae Sesay, and Martha Shaw Share the Space @ pt.2 Gallery","alias":"alicia-mccarthy-muzae-sesay-and-martha-shaw-share-the-space-pt-2-gallery","catid":"19","published":"1","introtext":"pt.2 Gallery presents a group show of new works by Alicia McCarthy, Muzae Sesay, and Martha Shaw. An exhibition of paintings which is also a study on painting, the pieces of McCarthey, Sesay, and Sha<\/span><\/span>","fulltext":"

In this exhibition, the artists are presented in a series of groupings, McCarthy and Sesay, Shaw and McCarthy, and a solo presentation by Sesay. McCarthy's works use enamel paint, colored pencils, and hyper pigments to depict bowed bands of colors that weave into each other. Mccarthy's investment in the gesture and movement of paint and the materials themselves\u2014upcycling and utilizing everyday mediums\u2014is principle within these works. McCarthy's practice is a type of navigational tool, figuring flow\u2014of paint, hand, and mind\u2014to route herself. Shaw's oil on canvas works capture murky waters and radiating settings; whole and severed fish, flowers, and gems. Shaw paints on an intimate scale, drawing you into the glimmer and shine of each moment the object of study refracts. Sesay's works extend his vernacular on geometry and form with color blocks, elongated and wavering strokes, and spherical shapes, creating works on canvas that seamlessly shift dimensions. Peaks of exteriors, aerial views of structures, and polygon planes are awash in deep titian akin to the sun rising that finds its way into each work. <\/p>\r\n

With Sesay's solo presentation, the works harken to particular locations in Oakland\u2014restaurants, bars, and gathering spaces. Here, the state of reverie and the inevitable passing of time takes on the cartographical wherein Sesay recalls and supposes place. The precision of material attributes of each establishment becomes secondary as it is Sesay's sense of place which structure these works. Hung as a series of windows, each painting is framed by a brown rectangle painted directly onto the gallery wall extending to the floor; each piece offers a peek into an interior scene that is\/was\/will no longer be. Sesay's brighter tones have been washed in dark overlay, casting the work in the evening hours and leaving a glimpse of memory into a gloomy sphere. Here Sesay's meditations on the ever-changing landscape and his history within the city become portal-esque in their collapse of self, site, and continuance. <\/p>\r\n

Central to the exhibition is an investment in the formation and substance of community. The Bay Area ethos, that radical refusal and call towards the collective that has guided the art-making that has and continues to happen here, is present in each artist's individual practices and as a group. McCarthy acts as a unifying agent extending her relationships as an informal mentee and mentor with Shaw and Sesay, respectively. Decades-long friendship and collaboration between Shaw and McCarthey and years-long fellowship and community building with Sesay, McCarthy's investment, and continued practice in care grounds the exhibition. There is a matter-of-factness to the design and execution of the works on view, an unsentimental and deeply tender assertation that making is fundamental and that material and friendship can guide our sense of art, care, and commitment to each other. In this sense, the ask here is one of presence to allow for the movement in paint and the spirit between artists to wash over. \u2014Essence Harden<\/em><\/p>","video":null,"gallery":"{gallery}71909{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"When We Were Here Last\"},{\"id\":\"3\",\"value\":\"Group Show\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2023-06-24\"},{\"id\":\"2\",\"value\":\"2023-07-29\"},{\"id\":\"10\",\"value\":\"pt.2 Gallery, Oakland\"},{\"id\":\"9\",\"value\":\"Oakland\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"1\"},{\"id\":\"16\",\"value\":\"1\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":" When We Were Here Last Group Show pt.2 Gallery, Oakland Oakland USA San Francisco (Bay Area) ","created":"June 23, 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pt.2 Gallery<\/a> presents a group show of new works by Alicia McCarthy<\/a>, Muzae Sesay<\/a>, and Martha Shaw<\/a>. An exhibition of paintings which is also a study on painting, the pieces of McCarthey, Sesay, and Shaw forward an interest in paint as material and its capacity to figure sensation. Here, matter and structure apply to a series of formalist concerns\u2013luster, wash, gesture, hue, and texture\u2014and the subject of depiction\u2014abstraction, landscape, object, interiority, and trace. Together McCarthy, Sesay, and Shaw make a triangular formation allowing the exhibition to find its way between and within each artist's particular concerns while presenting moments of convergence wherein the audience is left to wayfind. <\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},[{"type":"next-url","url":"\/painting\/page\/24\/?json=true&"},{"type":"next-link","url":"\/painting\/page\/24\/"}]]