between a place and candy: new works in pattern + repetition + motif

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David Poppie, Wandering Stars II, 2013, Colored Pencils on Panel

Courtesy Pavel Zoubok Gallery, New York

Great work lingers, and the works that were a part of between a place and candy: new works in pattern + repetition + motif, organized by Norte Maar and curated by Jason Andrews at the 1285 Avenue of the Americas Gallery, were no exception. They lingered. And they are still lingering 4 months later. The exhibition ran in New York from March 16 – June 12, 2015, and I had the great pleasure of seeing it in June before it closed. I had meant to write about the work right away but life got in the way and this post kept being put off, but the lingering power of the work haunted me. I am still struck, months later, by how immediate the work is, even in the photographs. The works still have a confident, visceral impact; Look at me and remember.

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There is a curious power to pattern and repetition. Many of the works in between a place and candy felt to me like emotional maps. Through the repetition of color, shape and line the works guide the viewer to look deeper, closer, both within the depths of the visual confines of the frame and also within the depths of the viewers own internal emotional memory. Through shape, delicate line, color, form and material substance the artists whose works comprised this exhibition reminded the viewer of the power of form, the resonate heft of replication and the guiding influence of line, both colored and not. These visual forces compel us to linger, to ponder, to wonder and to reflect. There is great power in that.

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David Poppie, Wandering Stars II (Detail)

http://davidpoppie.com

http://pavelzoubok.com

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Robert Zakanitch, Hanging Gardens Series (By the Seal), 2011/12, Gouache and Colored Pencil on Paper, 96 x 60 inches

Courtesy of Nancy Hoffman Gallery, New York

http://www.nancyhoffmangallery.com

http://www.zakanitch.com/page2.html

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Robert Zakanitch, Hanging Gardens Series (By the Seal) Detail

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Lori Ellison, Untitled 2010, Gouache on wood panel

Courtesy McKenzie Fine Art

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Lori Ellison, Untitled 2012, 2013, 2008 & 2010 & Bedford Boogie Woogie Blue 2010, Gouache on wood panel

Courtesy McKenzie Fine Art, New York

http://www.mckenziefineart.com

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Leslie Kerby, The Contained World, 2015, Oil on Cardboard

http://lesliekerby.com

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Leslie Kerby, The Contained World (Detail)

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Mary Judge, Bacio, 2015, Flasche on Linen on Panel, 25 x 25 inches

http://www.maryjudge.com

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Jessica Weiss, Queen for a Day, 2014, Silkscreen, collage and acrylic on canvas, 70 inches x 68 inches

http://www.jessicaweiss.net

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Jessica Weiss, Queen for a Day (Detail)

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Colin Thomson, Medium, 2015, Oil on Canvas, 58 x 52 inches

Courtesy of Outlet Fine Art, Brooklyn

http://www.outletbk.com

http://www.colinthomsonstudio.net

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Margaret Lanzetta, Air Chrysalis, 2014, Oil and acrylic on canvas

http://margaretlanzetta.com

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Samantha Bittman, Untitled (2004 – 009), 2004, Acrylic on Handwoven Textile, 25 x 20 inches

Courtesy of Andrew Rafacz Gallery, Chicago and Outlet Fine Art, Brooklyn

http://www.andrewrafacz.com

http://www.outletbk.com

http://samanthabittman.com/home.html

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Libby Hartie, Untitled #21 (Arrow), 2015 Graphite Collage on Paper Mounted on Panel, 45 x 90 inches

http://www.outletbk.com

Seeing Differently

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Joan Miró, Man and Woman in Front of Pile of Excrement, 1935, Oil on Copper, 23 x 32cm

Great work can open your eyes, and Joan Miró’s Man and Woman in Front of Pile of Excrement opened mine to modern art. I first saw the painting in Scotland in 1980 when I was 14 years old. I remember laying eyes on it and feeling the room shift. Artistically, this small painting on copper was tantamount to a new pair of glasses. It was the visual equivalent of someone smacking me on the face and saying, “Snap out of it!” or my first great kiss. I engaged the world differently after experiencing it. I saw myself in the world differently.

 I was visiting my Scottish Grandmother at the time, and she was horrified at my fascination with this work. I couldn’t stop looking at it. It was like looking into my own reflection, at times beautiful, subversive, rude, familiar and yet grotesque. It encapsulated the way I felt at 14.

I know now that the painting was one of twelve “Wild Paintings” that were Miró’s response to the tragedy of the Spanish Civil war. I knew none of that then. I just knew that this picture moved me. I left changed on exiting the gallery after seeing it.

I saw the painting again just recently while visiting the Fundació Joan Miró in Barcelona. I turned a corner and there it was, suddenly, like a treasured mentor I hadn’t seen in decades and I wept. 36 years had passed since I had first seen that painting but I could still feel the way it moved me when I first looked upon it. Like opening a box of long lost journals it reminded me of the power of freshly seeing. The sensation of blinking until the world comes into focus. The power of looking.

My world, indeed the entire world, is much different now than it was almost 4 decades ago. But the power of seeing never changes, and looking, really looking can change the way we see.

http://www.fmirobcn.org/en/

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