Storm King Art Center recently opened the exhibition Arlene Shechet: Girl Group, which brings together the artist’s recent work in wood, steel, ceramic, paper, and bronze with six new monumental sculptures created for the center which harness the expressive power of geometry, line, color, and form in works displayed across Storm King’s hills, fields, and galleries.
#arleneshechet
has work featured in Vorágine: Yente and Cecilia Biagini. Inspired by traditions of South American abstraction, Cecilia makes paintings, mobiles, photograms and reliefs that flow seamlessly from medium to medium. Utilizing a bold sense of color, line, depth and abstraction, the varied works find commonalities in their composition and playfulness. Evoking ideas of physics, the geometric shapes in her work are arranged in a manner suggesting movement and animation.
#ceciliabiagini
Vorágine: Yente and Cecilia Biagini brings together modern and contemporary abstract artworks by Yente (1905–1990), a pioneering figure in abstraction from Argentina, and Cecilia Biagini. The exhibition will present a selection of works by Yente from the 1930s through the 1960s, in which the artist experimented freely with the visual languages of the international avant-gardes by working across mediums, figuration, and abstraction.
#yente
Les Yeux du Monde is currently presenting Influence + Conversation, an exhibition of new work by Barbara and Isabelle- the latter studied with in the MFA program at UNC Greensboro. Isabelle’s work, grounded in direct observation of her surroundings in central Virginia, distills the essence of her environment into compelling oil on canvas compositions (some of which are more abstract than others).
#isabelleabbot
Joe Craig at Burnaway reviews the gradients and prismatic showpieces (and gives a nod to Tauba) in Bonnie’s Rainbow’s Bend at Ferrara Showman Gallery, New Orleans.
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#bonniemaygarden
Generative relationships between luminous color and ephemeral form propel Lindsay Packer’s site-responsive work in performance, installation, film and video, photography and streaming media. She plays with the call and response of color and light, form and site, engaging an analog/digital continuum of shifting chroma and temporary geometries in which color and form are inseparable. She’s included in Bluets and Blue along with Erika and others.
#lindsaypacker
is one of the artists included in Intersectional Voices, the current exhibit at Greenville Tiger Strikes Asteroid. Clare is a weaver and artist whose practice examines personal and familial experience within the broader framework of myths and narratives that make up the American South.
#clarehu
Final post about 2024 Artfields artists*.
Cristina works with remnants of previous textile projects as well as materials donated by local makers in Charleston, and expands her study of the cane weaving pattern into a large-scale installation. Her relationship to cane weaving is one of nostalgia rooted in her memory of my elders, their homes and communing spaces.
*see also Brent, Kristy, Kai, Natalie, Ian, Amberly, Margaret and Emiko
#cristinavictor
Saw below at Artfields. Margaret’s textile background was a significant driver that fed her interest in regenerative design-thinking systems, now called the circular economy; influencing her eventual pursuit of a Masters in Sustainability from Wake Forest University in 2016. She hopes to find a visual intersection for expressing her passion for painting and environmental concerns.
#margaretfleemanstudio
Similar to Ian, Eniko was featured in the most recent Artfields and also makes work that references trees. For the installation below they took ceramic slabs and make prints of individual endangered longleaf pine needle trees from an area near Pensacola that is under development. The title references “L’Inconnue de la Seine” and the tradition of a death mask as a memento of the deceased.
#enikoujj
Natalie Dunham is a process-based artist who creates
3-dimensional material studies primarily composed of basic geometric shapes and lines. Her practice employs a strategy of overlapping, accumulating, and juxtaposing simple materials to produce solid and complex forms.
Her hope is to challenge viewers to pause and appreciate the transformative powers of the creative process and to call attention to the essentially ordinary origins of even the most extraordinary works of art. I saw below at Artfields.
#nataliedunham
is one of many artists that I was newly exposed to at Artfields this Spring. Below is Harvest Avocado whose title (according to Kristy’s statement) comes from the two most popular colors from 1970s decor, Harvest Gold and Avocado. These earthy tones and the revival in craft become popular due to the start of the environmental movement. Today, 50 years later, we find ourselves in the midst of a climate crisis that urgently needs to be addressed. The inkle woven patterned bands criss-cross and grow in an organic way. Humans are interwoven with the planet’s ecosystems, intricately connected to the delicate balance of nature.
By merging tradition with contemporary influences and addressing the pressing climate crisis, her art serves as a reflection of our times, prompting awareness and dialogue about the need for action in a world where the environment is in crisis.
#kristybishop
To Weave the Sky: Textile Abstractions from the Jorge M. Pérez Collection celebrates numerous textile-based works from the Pérez collection – many of which have never been publicly exhibited before – and engages these acquisitions as focal points from which to structure creative dialogues with artworks presented in other mediums. In addition to works by Gene, Helen, Etel and other painters, Magdalena is included as an example of fiber arts.
#magdalenaabakanowicz
Painting After Art is Dead 