Gene Mann lives in Switzerland near Geneva but was born in France. The show at Andrew Edlin Gallery is her first New York solo exhibition. The works at Edlin are sensually textural; a blend of drawing and collage. The pieces are most definitely figurative collage works, but they have an expressive, painterly feel to them and a movement that is both chaotically childlike and simultaneously haunting. There’s something about the way the materials are manipulated and how the elements bleed into and over one another; like thoughts and stolen moments. Dreams and memory. The collection of elements are torn and pieced and drawn upon and torn again before coming together to form their rich dreamlike narrative quality, and these stories linger.
Evidence of Absence at Ziehersmith Inc. was another great show I saw last month in New York. The works of Ryan Mrozowski and Adam Winner were particular standouts.
Ryan Mrozowski Dark blue, White, Yellow, White, 2014, Vinyl on Wood, 16 1/2″ x 13 3/4″
Ryan Mrozowski Dark blue, White, Yellow, White (Detail)
Ryan Mrozowski Polychrome #3, 2013, Vinyl and Acrylic on Wood, 15 1/8″ x 11 5/8″
Ryan Mrozowski White, Pink, Grey , 2014, Vinyl on Wood, 20 1/2″ x 15.5″
Ryan Mrozowski White, Pink, Grey (Detail)
Ryan Mrozowski Dark Blue, Red, Maroon, Green I, II, III, 2014, Vinyl on Wood
Ryan Mrozowski Dark Blue, Red, Maroon, Green III
Ryan Mrozowski Red, Blue, Pink, White, 2014, Vinyl on Wood, 18 3/4″ x 15″
Adam Winner Untitled , 2014, Oil on linen, 20 1/4″ x 16 1/8″
Adam Winner, Untitled, 2014, Oil on Linen, 20 1/4″ x 16″
Another highlight on my recent gallery rounds in New York was the terrific exhibition from Steven Baris at DM Contemporary.
Steven Baris (from left) Geometries of Flow E6 & Geometries of Flow E4
I became familiar with Steven’s work through Facebook, but photographs did not prepare me for the subtleties of the work. They are strong striking compositions, yes, but it was the trace marks that drew me in. The works with their vibrant color feel very alive, but the ghostly marks in the paint speaks of other histories. The great blocks of color allude to a type of abstract landscape. They seem like vast lonely plains of color with deserted buildings, and yet the trace marks ground the paintings in the human somehow. The marks give the works a past even though they are most certainly grounded in a graphic present. I am particularly in love with the framed Oil on Mylar works. We are still taking about Geometries of Flow D13. I was unable to take a good picture of it because of the sunlight spilling from an adjacent window, but that particular work on Mylar stood out. You can see that piece and learn more about Steven’s work on the DM Contemporary website and on Steven’s site as well.
Steven Baris Geometries of Flow E4, 2014, Oil on Canvas, 50″ x 50″
Steven Baris Geometries of Flow E4 (Detail)
Steven Baris Geometries of Flow E6 ,2014, Oil on Canvas, 48″ x 48″
Steven Baris (From left) Geometries of Flow D10 & Geometries of Flow E5
Steven Baris Geometries of Flow D10, 2013, Oil on Mylar, 31″ x 31″ Framed
Steven Baris (From left) Geometries of Flow D12 & Geometries of Flow D11
Steven Baris Geometries of Flow E3, 2013, 79″ x 79″
I got a chance to see the exquisite works of Berlin based Pius Fox at Pablo’s Birthday on the lower east side recently. To say this show is a gem is an understatement. I was positively vibrating when I stepped back out onto the street after viewing this show. The works are, on the whole, quite small. Many are just around 9″ x 7″ and yet they pack quite a punch. They have a certain contained gravity as if tiny abstract worlds had been compressed into the picture plane. They draw you in like tiny windows daring the viewer to come closer, and then they capture you. These works reminded me of the concentrated power of the small cigar box lids of Richard Diebenkorn. They have that same focused energy. Light, but powerful. Like if you cut one open it would engulf the room.