Tomie Ohtake

Andrew Kreps Gallery recently presented a survey exhibition of works by Tomie . At the age of 37, Ohtake made her first artistic works after joining Brazil’s Seibi group, which brought together artists of Japanese descent. While in her first years of painting, she focused on representational works, she would soon immerse herself in abstraction, which would thereafter become a lifelong exploration, spanning over 50 years of production.
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Linda Arreola

Avenue 50 Studio recently presented Linda’s Abstract Wanderings From the LA Borderlands. (From Linda) “This body of work represents the years 2020 to 2023 when the only interaction with the outside world was through social media and television news. It was a period of intense introspection.These works bring my audience into my realm as I grappled with a world in turmoil while dealing with the complexities of living with a compromised loved one.” Hyperallergic noticed.

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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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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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