Kaveri Raina at Hammond Harkins Galleries, Columbus, Ohio

thumb_img_1404_1024

Prefer the Past,  Acrylic, burlap, 70 x 40 inches

Alchemy is occurring at Hammond Harkins Galleries in Columbus, Ohio where Kaveri Raina has opened a portal to another world in her magical first solo at the gallery.

thumb_img_1406_1024

Prefer the Past (detail) 

Kaveri, a native of New Delhi, spent part of her childhood in India before relocating to the United States in 2000, and the works on display at Hammond Harkins reflect that dual sense of place. But it would be a disservice to Ms. Raina to say the canvases merely straddle two worlds; They create new ones. By fusing her connections with India, it’s traditions, colors, textures and mythology with a contemporary approach to painting Ms. Raina re-interprets centuries of tradition with fresh eyes, synthesizing a bridge between past and future. The paintings burlap supports, referencing the vessels that transported the rice and staples of her youth and the humble textiles of the marginalized become transportive vessels of another sort under Kaveri’s skillful hand. Painting from both the back and front of the support and using the burlap’s rugged, tactile transparency, Ms. Kaveri evokes the push and pull of past and present, the ephemeral and the visceral, the seen and unseen, the forgotten and the remembered. Her use of overlapping mythical forms, staining of surface and lush layered color further envelope the viewer in a landscape of dreams and memory, awakening the senses and catapulting the viewer from the temporal realm into the sensual beyond.

thumb_img_1465_1024

Gallery view from entrance

thumb_img_1410_1024

Walking Around, Acrylic, oil pastel, burlap, 60 x 48 Inches

thumb_img_1413_1024

From left: Shy Around and Prefer the Past

thumb_img_1408_1024

Shy Around,  Acrylic, burlap, 60 x 48 Inches

thumb_img_1415_1024

From Right: Will I Be Missed (Future), Overthrow Slightly and Stray Delight

thumb_img_1416_1024

Will I Be Missed (Future), Acrylic, dye, burlap, 70 x 40 Inches

thumb_img_1418_1024

Overthrow Slightly, Acrylic, dye, burlap, 70 x 40 Inches

thumb_img_1420_1024

Stray Delight, Acrylic, burlap, 70 x 40 inches

thumb_img_1436_1024

From right: Forgotten Pleasures, Shy In, Hanuman Mukut and Will I Be Missed

thumb_img_1423_1024

Forgotten Pleasures, Acrylic, dye, burlap , 70 x 40 inches

thumb_img_1425_1024

Forgotten Pleasures (Detail)

thumb_img_1428_1024

Shy In, Acrylic, burlap, 60 x 48 Inches

thumb_img_1432_1024

Hanuman Mukut

thumb_img_1434_1024

Will I Be Missed, Acrylic, dye, burlap, 70 x 40 inches

For more information about Hammond Harkins Galleries and Kaveri Raina please check out their websites at:

http://www.hammondharkins.com

http://www.kaveriraina.com

Agnes Martin at Los Angeles County Museum of Art

thumb_IMG_0009_1024

Mid-Winter, c. 1954, Oil on Canvas

I had always drifted on the periphery of Agnes Martin fandom. But truth be told I had never seen more than one or two of her canvases at a time and they were mostly later paintings. So my understanding of Martin and her work was the art knowledge equivalent of cocktail chatter. Quick sound bites and surface sheen but very little substance. That all changed during my recent visit to the Los Angeles County Museum of Art’s steller showing of Martin’s work.

thumb_IMG_0012_1024

From left: Mid-Winter, Untitled 1955 & Untitled 1954

I’m not a religious person by any means, but I’d be downplaying my experience at this exhibition if I’d didn’t at least in some way state that I felt like I’d been to church by the time I’d left. Not in a sacred “smells and bells” churchy type way, but in a more secular introspective reverent one. I arrived very early at LACMA and was the first into the galleries. I spent at least 20 minutes completely alone. Me and Agnes. And something happened. What occurs when one has the luxury of silence these days and the luxury too of being alone with a large collection of an artists oeuvre is transformative. Listening to the work becomes easier. One’s observational sense becomes keener. It felt as if Agnes and I were having a conversation; a really substantial one at that. And I found myself roaming from room to room, tears spilling down my cheeks.

thumb_IMG_0010_1024

Untitled  c. 1955, Oil on canvas, 83.8 x 134.6

It’s cliché to say great work makes the viewer feel something. In a sense it does, but I believe great work does something much more significant. Truly transcendent work creates a form of communion, not just within the triangle of artist, artwork and viewer, but it charges the viewer with a type of abstract otherness. It connects us to the beyond. Opening a portal  of pure feeling. And for that I am thankful.

thumb_IMG_0011_1024

Untitled c. 1955 , Oil on canvas, 118.1 x 168.3

This exhibition was organized by the Tate Modern in collaboration with the Los Angeles County Museum of Art, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, and the Solomon R. Guggenheim Museum, New York. The exhibition continues from now until September, 11 at the Los Angeles County Museum of Art before opening at the Guggenheim Museum in New York on October, 7. For more information about LACMA and this exhibition please check out the LACMA website. http://www.lacma.org/art/exhibition/agnes-martin

thumb_IMG_0128_1024

From left: Beach, 1957 and Harbor No. 1, 1957

thumb_IMG_0123_1024

Beach, 1957,Oil on canvas

thumb_IMG_0124_1024

Beach (detail)

thumb_IMG_0125_1024

Harbor No. 1, 1957, Oil on canvas, 126.3 x 101.6

thumb_IMG_0018_1024

From left: Untitled 1958 and Untitled c. 1957

thumb_IMG_0014_1024

Untitled 1958, Oil on canvas, 165.1 x 165.1

thumb_IMG_0013_1024

Untitled c. 1957, Oil on canvas, 86.4 x 86.4

thumb_IMG_0022_1024

From left: Heather 1958, The Heavenly Race (Running) c. 1959, Desert Rain 1957, Untitled 1959

thumb_IMG_0025_1024

Heather 1958, Oil on canvas, 177.8 x 177.8

thumb_IMG_0027_1024

The Heavenly Race (Running) c 1959, Oil on canvas, 30.5 x 90.2

thumb_IMG_0028_1024

Desert Rain 1957, Oil on canvas

thumb_IMG_0029_1024

Untitled 1959, Oil paint and Ink on canvas, 30.5 x 30.5

thumb_IMG_0033_1024

Rain (Study) 1958, Oil on canvas, 63.5 x 63.5

thumb_IMG_0034_1024

Untitled 1958, Oil on canvas, 60 x 60

thumb_IMG_0035_1024

Burning Tree 1961, Wood and metal 33 x 53.3

thumb_IMG_0037_1024

Buds c. 1959, Oil on canvas, 127 x 127

thumb_IMG_0046_1024

From left: Untitled 1960, Untitled 1962, Little Sister 1962 and The Islands 1961

thumb_IMG_0039_1024

The Islands 1961

thumb_IMG_0040_1024

The Islands 1961 (Detail)

thumb_IMG_0054_1024

Little Sister 1962, Oil paint, ink and brass nails on canvas and wood, 25.1 x 24.2

thumb_IMG_0055_1024

Little Sister 1962 (Detail)

thumb_IMG_0051_1024

Untitled 1962, Oil on canvas mounted on board with nails, 24.8 x 24.8

thumb_IMG_0049_1024

Untitled 1960, Oil on canvas, 30.5 x 30.5

thumb_IMG_0043_1024

Islands No. 4 c. 1961, Oil on canvas, 37.8 x 37.8

thumb_IMG_0044_1024

Brown Composition 1961, Oil on canvas, 30.5 x 30.5

thumb_IMG_0057_1024

From left: Horizon 1960, Untitled 1960 and Untitled 1960

thumb_IMG_0059_1024

Horizon 1960, Oil on canvas, 38.1 x 38.1

thumb_IMG_0061_1024

Untitled 1960, Oil on canvas, 30.5 x 30.5

thumb_IMG_0062_1024

Untitled 1960, Oil on canvas, 30.5 x 30.5

thumb_IMG_0067_1024

From left: Falling Blue 1963 and A Grey Stone 1963

thumb_IMG_0069_1024

Falling Blue 1963, Oil on canvas, 182.9 x 182.9

thumb_IMG_0071_1024

Falling Blue 1963 (Detail)

thumb_IMG_0082_1024

A Grey Stone 1963, Oil on canvas, 190.5 x 190.5

thumb_IMG_0085_1024

A Grey Stone 1963 (Detail)

thumb_IMG_0090_1024

White Stone 1964, Oil and graphite on canvas, 182.9 x 182.9

thumb_IMG_0091_1024

White Stone 1964 (Detail)

thumb_IMG_0096_1024

Adventure 1967, Acrylic paint and graphite on canvas, 182.9 x 182.9

thumb_IMG_0097_1024

Adventure 1967 (Detail)

thumb_IMG_0101_1024

Small works on paper

thumb_IMG_0108_1024

Aspiration 1960, Ink on paper, 28 x 24

thumb_IMG_0109_1024

Aspiration 1960 (Detail)

thumb_IMG_0111_1024

Balconies/Galleries 1962, Ink on paper, 22.9 x 22.9

thumb_IMG_0112_1024

Balconies/Galleries 1962 (Detail)

thumb_IMG_0118_1024

Weeds 1963, Ink and watercolor on paper, 22.9 x 22.9

thumb_IMG_0121_1024

Weeds 1963 (Detail)

thumb_IMG_0131_1024

On a Clear Day 1973, Thirty screen prints printed in gray on cream colored japanese paper, each 30.5 x 30.5

thumb_IMG_0132_1024

On a Clear Day 1973 (Detail)

thumb_IMG_0139_1024

From left: Untitled #12 1981 and Untitled IX 1982

thumb_IMG_0140_1024

Untitled #12 1981, Acrylic and colored pencil on canvas, 182.9 x 182.9

thumb_IMG_0144_1024

Untitled #12 1981 (Detail)

thumb_IMG_0146_1024

Untitled IX 1982, Acrylic and graphite on canvas, 182.9 x 182.9

thumb_IMG_0147_1024

Untitled IX 1982 (Detail)

thumb_IMG_0148_1024

From left: Untitled #8 1974 and Untitled #4 1975

thumb_IMG_0150_1024

Untitled #8 1974, Acrylic and graphite on canvas, 182.9 x 182.9

thumb_IMG_0152_1024

Untitled #8 1974 (Detail)

thumb_IMG_0153_1024

Untitled #4 1975, Acrylic and graphite on canvas, 182.9 x 182.9

thumb_IMG_0155_1024

From left: Untitled #1 1989 and Untitled #8 1989

thumb_IMG_0156_1024

Untitled #1 1989, Acrylic and graphite on canvas, 182.9 x 182.9

thumb_IMG_0159_1024

Untitled #8 1989, Acrylic and graphite on canvas, 182.9 x 182.9

thumb_IMG_0162_1024

From left: Untitled #15 1988 and Untitled #12 1984

thumb_IMG_0165_1024

Untitled #12 1984, Acrylic and graphite on canvas, 182.9 x 182.9

thumb_IMG_0166_1024

Untitled #12 1984 (Detail)

thumb_IMG_0167_1024

Untitled #14 1977, Ink, graphite and gesso on canvas, 182.9 x 182.9

thumb_IMG_0171_1024

Untitled #14 1977 (Detail)

thumb_IMG_0174_1024

Untitled 1978, Watercolor and ink on paper, 22.9 x 22.9

thumb_IMG_0176_1024

Untitled 1978, Watercolor and ink on paper, 22.9 x 22.9

thumb_IMG_0179_1024

From left: Affection 2001 and Gratitude 2001

thumb_IMG_0184_1024

Affection 2001, Acrylic and graphite on canvas, 152.4 x 152.4

thumb_IMG_0182_1024

Gratitude 2001, Acrylic on canvas, 152.4 x 152.4

thumb_IMG_0186_1024

Blessings 2001, Acrylic and graphite on canvas, 152.4 x 152.4

thumb_IMG_0188_1024

Blessings 2001 (Detail)

thumb_IMG_0193_1024

From left: Untitled #12 2002 and Untitled #4 2002

thumb_IMG_0191_1024

Untitled #12 2002, Acrylic and graphite on canvas, 152.4 x 152.4

thumb_IMG_0189_1024

 Untitled #4 2002, Acrylic and graphite on canvas, 152.4 x 152.4

thumb_IMG_0194_1024

The Sea 2003, Acrylic and graphite on canvas, 152.4 x 152.4

Harmony Hammond at Alexander Gray Associates

IMG_9904

Bandaged Grid #1, 2015, Oil and Mixed Media on Canvas 44.25″ x 76.5″ x 5″

I’ve never thought of canvas like skin but these works by Harmony Hammond in her recent solo at Alexander Gray Associates have a corporeal aspect. They are distinctly mortal. From the moment one enters the gallery and turns left to see Bandaged Grid #1. One feels the presence of body and all of the serene messiness that comes with being human. These works are peeled, torn, painted, pierced and layered. Yet nothing is obvious. One must lean in to really listen to them and see them as they are. These pieces felt like the doors between the living and the dead in Egyptian Mastabas. One foot distinctly in the physical world at once fleshy, mortal and concrete, and yet simultaneously of the mystical realm.

For more information about Harmony Hammond please check out the Alexander Gray Associates website at:

http://www.alexandergray.com/artists/harmony-hammond/

IMG_9906

Bandaged Grid #1 (Detail)

IMG_9905

Bandaged Grid #1 (Detail)

IMG_9902

Ledger Drawings, 2015, One of Suite of Five Ink on Paper, 11.75″ x 9.5″

IMG_9903

Ledger Drawings (Detail)

IMG_9894

From left: Naples Grid and Things Various

IMG_9895

Naples Grid, 2015, Oil and Mixed Media on Canvas, 80.25″ x 54.5″ x 5

IMG_9896

Things Various, 2015, Oil and Mixed Media on Canvas, 80.25″ x 54.25″ x 5

IMG_9897

White Rims #7, 2015, Monotype on Paper with Metal Grommets, 47″ x 33.5″

IMG_9898

White Rims #7 (Detail)

IMG_9900

White Rims #4, 2015, Monotype on Paper with Metal Grommets, 47″ x 33.5″

Construction Site at McKenzie Fine Art

IMG_9787

From Left: Eric Brown, Tilt, 2016 and Samantha Bittman Untitled 2016 and Untitled 2016

I always check out the shows at McKenzie Fine Art when I am in New York. I neglected to photograph some of the other great works in this show because I got distracted buying a small Lori Ellison drawing, so this post unfortunately omits the terrific work by Cathryn Arcomano, Mel Bernstine, Eric Brown, Kellyann Burns, Paul Corio, Liv Mette Larsen, Noah Loesberg, Erin O’Keefe, Laura Watt and Will Yackulic. My apologies to those artists. You can see installation views of the show and works from the above artists on the McKenzie Fine Art website.

http://www.mckenziefineart.com/exhib/CST2016exhb.html

IMG_9789

Samantha Bittman

IMG_9790 copy

Samantha Bittman, Untitled 2016, Acrylic on hand woven textile, 20″ x 16″

IMG_9798

Don Voisine, Revolver, 2016, Oil on wood panel, 44″ x 44″

IMG_9799

Alton Sultan, Blue Squares, 2016, Hand dyed wool on linen, 10″ x 23.5″

IMG_9791

Christian Maychak, Compound Flat #46, 2015, Epoxy clay, pigment and wood, 45.5″ x 26.25″ x 1.5″

IMG_9786

Jason Karolak, Untitled (P-1608), 2016, Oil on linen over panel, 16″ x 14″

IMG_9785

Some Don Voisine’s and a Paul Corio in the back room.

JUSTINE HILL – They Just Behave Differently at Denny Gallery

IMG_9765

I really enjoyed Justine Hill’s show, They Just Behave Differently, at Denny Gallery in New York this past June. The show had a palpable energy and the pieces, mostly shaped canvasses, felt like visual thought bubbles; the painted expression of comic book style captions like “Pow”, “Bam” , “Zap and “@#*!” realized in paint.

For more information about Justine Hill please check out Denny Gallery’s website.

Justine Hill

IMG_9766

IMG_9764

IMG_9768

IMG_9770

IMG_9771

IMG_9767

Barbara Ellmann: An Open Book 2 at the Marks Art Center

I had the great pleasure of seeing Barbara Ellmann’s dynamic exhibition, An Open Book 2, at the Walter N. Marks Center for the Arts in Palm Desert, California last month. The exhibition, which ran from February 4 to March 11, was partially funded by the McCallum Theatre Institute’s Aesthetic Education Program, produced in conjunction with the Marks Art Center at the College of the Desert and was beautifully curated by Sophia Marisa Lucas. The Marks always presents terrifically exciting, innovative shows and I am continually impressed by the quality of their curatorial focus. An Open Book 2 was no exception.

IMG_8755

For more information about the Marks Art Center and Barbara Ellmann:

http://www.collegeofthedesert.edu/community/gallery/Pages/default.aspx

https://barbaraellmann.com

IMG_8757

IMG_8758

IMG_8759

IMG_8760

IMG_8767

IMG_8765

IMG_8776

IMG_8771

IMG_8770

IMG_8747

IMG_8750

IMG_8737

IMG_8720

IMG_8725

Nick Theobald: With Honey From The Rock at Richard Taittinger Gallery

There is a particular sensation that comes with rain. Time slows and one’s tactile appreciation of touch, sound and smell is heightened. One luxuriates in that sensation as the perception of time slows with the elongated drumming pause that accompanies the steady fall of liquid from the sky. I felt that sense of suspension while viewing Nick Theobald’s almost reverential solo at Richard Taittinger Gallery on Manhattan’s Lower East Side. The works present in the gallery slow one’s sense of time and bathe the viewer in their tranquil, organic materiality like rain.

IMG_7545

More information about Nick Theobald and Richard Taittinger Gallery can be found on their websites below. With Honey From The Rock runs through December 12th. Richard Taittinger Gallery , 154 Ludlow Street, New York, NY.

http://richardtaittinger.com

http://nick-theobald.com

IMG_7556

Detail

IMG_7546

IMG_7547

Detail

IMG_7570

IMG_7561

IMG_7549

IMG_7550

IMG_7551

IMG_7552

Detail

IMG_7571

IMG_7565

IMG_7566

IMG_7567

Detail

IMG_7553

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

IMG_5645

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.

Home

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.

IMG_5644

David Poppie, Wandering Stars II (Detail)

http://davidpoppie.com

http://pavelzoubok.com

IMG_5627

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

IMG_5631

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

IMG_5648

Lori Ellison, Untitled 2010, Gouache on wood panel

Courtesy McKenzie Fine Art

IMG_5649

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

IMG_5660

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

http://lesliekerby.com

IMG_5663

Leslie Kerby, The Contained World (Detail)

IMG_5638

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

http://www.maryjudge.com

IMG_5653

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

http://www.jessicaweiss.net

IMG_5656

Jessica Weiss, Queen for a Day (Detail)

IMG_5636

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

IMG_5676

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

http://margaretlanzetta.com

IMG_5675

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

IMG_5668

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

http://www.outletbk.com

Seeing Differently

Man_and_Woman_in_Front_of_Pile_of_Excrement

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/

Donald Martiny: Gestures at Madison Gallery

In a world that is more and more removed and isolated, where finding contact and gesture and movement, both abstract and emotional, is increasingly difficult, Donald Martiny’s expressively lyrical solo, Gestures, at Madison Gallery in La Jolla, California is refreshingly immediate.

IMG_6274

Alanic, 2014, Polymer and dispersed pigment on aluminum, 55 x 44 inches

One is instantly struck by the work’s visceral movement and vibrant color. But it would be too easy to reduce these forms to simply a discussion of color and flow. These enlarged brushlike strokes, formed from polymer and saturated pigment, are visual poems. They are the painterly equivalent of a verbal haiku, deceptively lean, but on reflection as complex and inevitable as breath. The simplified structure allows the viewer to look deeper. The swaths of undulating paint, dotted with glimpses of hidden color and seemingly random trace gesture, draw us closer, enticing us with their history. And the sensual , almost liquid quality of the forms woos us, like the touch of someones hand on bare skin, light but electric, the movement fleeting but the sensation enduring. The touch simple in form but resonant in understanding. That sensation is rare in this world of detachment. But as these paintings attest, and as has been said many times, “the simplest gesture is the most profound.” It is indeed.

http://www.donaldmartiny.com

http://www.madisongalleries.com

IMG_6278

Left: Togoyo, 2014, Polymer and dispersed pigment on aluminum, 68 x 43 inches

Right: Kore, 2015, Polymer and dispersed pigment on aluminum, 59 x 44 inches

IMG_6281

Togoyo, 2014, Polymer and dispersed pigment on aluminum, 68 x 43 inches

IMG_6280

Kore, 2015, Polymer and dispersed pigment on aluminum, 59 x 44 inches

IMG_6283

From left: Kott, 2015, Polymer and dispersed pigment on aluminum, 88 x 5 inches

Ofo, 2015, Polymer and dispersed pigment on aluminum. 77 x 3 inches

Weyto, 2014 Polymer and dispersed pigment on aluminum. 91 x 46 inches

IMG_6277

Weyto, 2014 Polymer and dispersed pigment on aluminum. 91 x 46 inches

IMG_6275

Ngbee, 2015, Polymer and dispersed pigment on aluminum. 44 x 90 inches

IMG_6284

Laua, 2015, Polymer and dispersed pigment on aluminum, 76 x 77 inches

<span>%d</span> bloggers like this: