Tag: nontraditionalmaterials

Manoela Medeiros

is a recent Fountainhead artist in residence. In her practice, Medeiros articulates an approach to painting that transcends the specificities of the medium, making use of sculpture, performance, and installation work. Pursuing a hybrid framework for the pictorial, Medeiros questions artistic media by going beyond their conventional formats, producing paintings and in situ installations that explore the relationships between space, time, and the corporeality of art and of the viewer.

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Kemar Keanu Wynter Heralds

Klaus von Nichtssagend recently presented Herlads, Kemar’s second exhibition with thr gallery, including work which is building a visual patois and at its foundation lies heraldry, a system of motifs compiled to identify and evoke the histories and legacies of the family. Assuming this tradition for his own, Heralds presents a suite of paintings centering on his parents, Grafton and Ionie Wynter-Bolden, and the dishes tethered to his childhood apartment at 770 Empire Boulevard, in Brooklyn.

#kemarkeanuwynter

Linda Sok

Saw below recently in Something Earned, Something Left Behind at the Center for Craft in Asheville. Sok’s piece speaks to the traditional Cambodian craft of Pidan silk weaving as an act of resilience. Pidan were highly regarded in particular by French colonial archivists, and as a result there have been ample attempts at documentation, collection, and restitution of the cultural practice through its collection into museums or in the reconstruction of textile pieces funded by organizations outside Cambodia. As a result, these objects have become decontextualized and are visible only to people in museum spaces.
By placing contemporary imagery of the artist’s family onto a culturally sacred object, Sok offers a nuanced way of approaching the traditional weaving practice as an act of healing from familial and cultural trauma.

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#lindasok

De Wain Valentine

De Wain Valentine was born in Colorado and arrived in L.A. in 1965 to teach a course in plastics technology at the University of California, Los Angeles (UCLA). He is regarded today among the earliest pioneers in the use of industrial plastics and resins to execute monumental sculptures that reflect the light and engage the surrounding space through its mesmerizingly translucent surfaces.

#dewainvalentine

Vera Molnar

A 1927 painting by Paul Klee inspired this series by Vera Molar for which she programmed a computer to “place parallel lines within a square grid and vary the alignment (horizontal, vertical, diagonal) and the weight of lines as well as their closeness.” Numerous variations could be produced, which allowed her to “bring to light and to realize images…which only pre-existed in a vague, uncertain way in my imagination.”

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#veramolnar

Roland Reiss

Saw below recently at LACMA along with work by Craig and Peter.

Roland Reiss began working with plastics in the early 1960s in order, in his words, “to move away from the brushstrokes, paint, and canvas of the Abstract Expressionists… The technical elements of painting could be replaced with new surfaces, colors, textures, reflectivities, and physical strength.” Red Edge is one of a series of works he created by making latex molds of ceiling panels used to diffuse fluorescent lights, then spraying the molds with polyester resin in candy-colored hues and backing them with fiberglass. The resulting honeycomb-textured surface reflects light, generating an optical effect that causes it to appear to vibrate. As Reiss described it,
“You have the surface of [the] painting itself moving in space.”

#rolandreiss

Craig Kauffman

like Peter was represented in Light, Space and Surface at LACMA.

Craig Kauffman is the only one of his Light and Space peers who, in a substantial way, came to his artistic vocabulary through a historical knowledge of modernism, in particular Marcel Duchamp’s Large Glass (1915-23) and Lászió Moholy-Nagy’s Plexiglas works of the 1940s. In his Loops series, including Untitled (below), Kauffman molded Plexiglas sheets to incorporate a fold and then sprayed them with acrylic paint, creating a hazy atmospheric field that hovers just off the wall. The shadow Untitled casts on the wall takes on the yellow hue of the sprayed paint, as if color could be both distilled from and independent of actual paint.

#craigkauffman

Jeffrey Gibson

Sited below at Expo Chicago- it’s actually a functional drum. Apparently as always I’m the last to be on the know (he has almost 30k followers). His work has headed in new directions (although the galleria at informed me he still uses some of the drums in performances).

#jeffreygibson

Alicia Piller

While working in the fashion industry; living a decade in NYC and three and a half years in Santa Fe, NM, Piller cultivated her distinctive sculptural voice. Continuing to expand her artistic practice, Alicia completed her MFA focused on sculpture and installation from CalArts in May of 2019.

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Alexander Ney

Got to drop in on Beyond the Surface: Collage, Mixed Media and Textile Works from the Collection at the always excellent (and fortunately local) Nasher Museum of Art at Duke University recently and just love the Alexander Ney below.

Turns out it’s an early work and not wish he’s most known for.

#alexanderney