After spending the past decade in Miami, Drain recently moved back to Providence, Rhode Island, where he had attended RISD and was a member of the artist collective Forcefield. Using processes derived from his background with textiles and collage, Drain takes a radically visceral approach to painting. The sculptural mark-making for this series can best be described in terms of immediacy and economy, alluding often to the otherwordly aesthetic of Forcefield and the “trashpunk” activities at Fort Thunder, the communal DIY space where they once lived. The panels in Drain’s modular paintings are comprised of cuts from older works, and have dimensions set by the spatial allowance of infrastructurally impoverished AmTrak freight, the method by which they were shipped. These parameters frame Drain’s works within a particular economy of creative reuse that both utilizes and rubs up against those very same parameters.
“The grid is very peaceful. Nothing can go wrong. Everything is complete.” LB
Seems to be undone. That?
Un-joined, a temporary stitch, a disintegrated seam?
Pick at the seam with a pin; ok; pretty?
Seem-less. A sewing needle repairs, heals.
A staple, too?
“the walls were concrete, and I couldn’t really staple to them.” Brian Chippendale
“The beauty of sewing,” Bourgeois explained, “is precisely in the fact that things can be done and undone without damaging the fabric.” – Jim Drain
*Text and images from Various Small Fires Seems/Seams-Jim Drain
To see more click here
Claire Grill lives and works in Queens, New York. To see more of her work, click here.
Liz Robb is a San Francisco-based artist working primarily in textiles. She states,
I work sculpturally to capture a moment in time using active processes that become meditations: indigo dyeing, weaving, wrapping, compressing, structuring, ordering, and releasing. The repetition of these acts fosters a connection between the subconscious mind and the body, and these full body rhythmic movements allow my stream of consciousness to expand on certain conceptual ideas and develop more thoughtful conclusions.
My work is on the continuum of dialogue between the grid and its manifestations as form, content, and medium through threads, weaving, and painting. I utilize the power of the materials to construct architectural frames from which to build weighted objects in space. Localized patterns of organization translate unique spatial and physical relationships between the viewer and the sculptures. Parts of a sculpture can be compact and highly detailed, whereas others are unraveled and cascade onto the floor. Many can be installed in multiple configurations, hung from the wall or ceiling, allowing for multiple vantage points for the viewer to engage with two or three structural planes. I respond to the inherent energy of the materials and how they interact and form my decisions, balancing the tension between my control and relinquishment of control through the process.
Experiencing the work reveals the materiality and inherent makeup of the natural fibers like cotton, jute, and wool. Washes of indigo blues and bright pinks highlight the texture and dimensionality of a pebbled knot or stitch and transform a canvassed piece at large. The visceral experience of the work conveys a message of beauty and form that exemplifies my interpretation of the grid
Most recently, Robb showed at West Coast Craft. To see more of her work, click here.
Maria Walker lives and works in Brooklyn, NY. To see more from Maria Walker click here.
Ulf Saupe is based in Berlin, Germany. Above are examples of his ‘Water Pictures’.
“Sergio Gutiérrez´ practice use drawing as a reflexion zone, a complementary time to observation which acts intuivitively as a temporal emplacement in the imaginary. By recovering and redirecting luminous variations, temperatures and sounds between materials and their physical reactions to space, Gutiérrez interest in the corporeal and temporal dimensions of the image include a possibility of interaction with vistors.
“The double vision” implies the exploration and use of corporeal resources relative to the movements of rotating and extending a body, where the works are originated by the interplay of sight and touch in actions such as trace, impact, expand, mould, add, substract, place, handle, contain, hook, rotate and register.
Translating the graphic elements of point, line and plane to tridimensional forms, “The double vision” generates tactile wanderings through ceramic surfaces, being manipulated as tools to trace (contours and perimeters), and measure (volume, consistency, duration and distance), in which visitors will have the option of roaming, handle, place and re-trace its physical relation to space.
Sergio Gutiérrez (1982) lives and works in Oaxaca. Studied at ENPEG “La Esmeralda”, México, City. (2001-2006) has won the fellowship FONCA (2013, 2007), FOESCA (2009-2010) and Arte Actual programme at Bancomer- MACG, Museo Carrillo Gil, México, City (2009). In 2012 he was artist-in-residency at Museo Experimental el Eco. Solo presentations include: “Los que se van, los que se quedan” en Casa del Lago Juan José Arreola (2013); “El devenir de la luz. Aquellos que se expanden” en Casa Vecina. And group shows as: Gabinete Grafico: Materia Sensible. Museo de Arte Carrillo Gil.Materia de Dibujo. México, D.F(2013); Letters from my grandfather. Colection JoAnn Gonzalez Hickey. N.Y. USA(2012); The post project. Power to the People: Contemporary Conceptualism and the Object in Art. Australian Center for Contemporary Art. Curaduría Raimundas Malasauskas(2011); Perspectives. The Artist Book in Latin and South America, Third Biennial Codex International Bookfair, UC Berkeley Campus, USA (2011). He is currenly preparing a sholo show at Instututo de Artes Gráficas de Oaxaca (IAGO).” -Parallel Oaxaca
*Images from Sergio Gutiérrez – La doble Visión at Parallel Oaxaca. To see more click here.
Russell Leng is an artist currently based in Vancouver, Canada. He received an MFA in Contemporary Art Practice
from Edinburgh College of Art in 2013. His work has been collected and exhibited at galleries worldwide including
Beers.Lambert (London), FFDG (San Francisco), Hungryman Gallery (San Francisco and Chicago), Fleming Collection
(London), Embassy Gallery (Edinburgh), Parts Gallery (Toronto), and Trench Contemporary Art (Vancouver).
Leng did an exclusive print series for Little Paper Planes, which can be purchased here. Over the years, Leng’s work has changed a great deal and it’s wonderful to see these new developments. Artistic growth and exploration is always so exciting. To see more of his work, click here.
Currently, Leng has a solo exhibition showing at Field Contemporary, in Vancouver. It is running until July 4th- it looks amazing and absolutely merits a visit if you are nearby!
Since it is so gloomy outside today, I am really enjoying these airy, flower-filled photographs by Philadelphia-based photographer Roxana Azar. Azar digitally manipulates her photos to give them their painterly nuance and collaged compositions. To see more of her work, click here.
“Im interested in making things so that they communicate at the same level as the actual things”, Bradley says. “The mix of replicated elements in different materials with actual things – as in a bronze potato chip with an actual beer can – speaks to my relationship with materials and my personal agenda and value of things in the world. Sometimes you just have to let a beer can be a beer can.”
Chris Bradley (1982, USA) achieves realistic effects through uncommon means, summoning the appearance of grease or tape by using paint or replicating an ice bag using glass and plastic. Experimenting with three-dimensional trompe l’oeil, Bradley translates rectangular cardboard sheets, stained pizza boxes decorated with nuggets of gum, and other real world detritus into sculptures in aluminum, steel, bronze, concrete, and other materials.
“What drives me to work with everyday, mundane subjects is a faith that within each thing is a latent narrative or meaning”, he comments.
- Excerpt from Modern Painters’ 25 Artists to Watch, 2014
*Above text from Roberto Paradise
**Images from artists site. To see more from Chris Bradley click here.
One of Mexico’s most prominent contemporary conceptual photographers, Alfredo De Stefano photographs the desert landscape creating images that address the natural environment’s elemental significance and our relationship to the land. Often employing ice, fire, and light, De Sefano creates enigmatic installations with both natural and man-made objects in the ethereal desert setting.
De Stefano was born in Monclova, Coahuila, a city in the desert in Northeastern Mexico. His work has been exhibited internationally including solo exhibitions at the The Recoleta Cultural Center, Buenos Aires, Argentina, 2012; Fourth International Biennial of Photography, Amsterdam, Netherlands, 2010; International Biennial of Guangzhou, Museum of Art, Guangzhou, China, 2009 and the Museum of Art Carrillo Gil, Mexico City, Mexico, 2008.
To see more of the artist’s work, please visit the GE Galeria website.