Color: Sculpted and Painted
dal 5/6/2015 al 27/6/2015
Segnalato da
5/6/2015
Color: Sculpted and Painted
Five Myles, New York
This exhibition highlights four artists ( Dieter Kuhn, Norbert Masal, Cindy Millin, Scott Reeds) whose work is informed by their particular use of color.
This exhibition highlights four artists whose work is informed by their particular use of color. Cindy Millin's paintings are nearly three-dimensional works with layers upon layers of sculpted paint that reveal splashes of bright colors on plain backgrounds; Dieter Kuhn in a more contained approach uses a vibrant palette to outline imaginary maps and mysterious scenes, at times joyful or mysterious; Norbert Masal's sculptures are equilibrist constructions where a metallic structures are often gently wrapped in colorful shapes; Scott Reeds, though a complex process involving the hand-bending of iron sheets and the bathing of the work in acrylic gesso, creates delightful wall sculptures that flash with their shiny and fluorescent colors.
About the artist:
Dieter Kuhn: I manipulate paint and play with forms and lines. Like an improvising musician I take a figure, a loop, a lick and run with it. Here is what I am after: something weightless that defies gravity; or something dense that filters and reflects the light; or something layered and crowded like history.
I have an affinity for maps and love the bird’s eye view. I am drawn to activities that most people wouldn't call activities at all but ways of wasting time: doodling, walking with no place to go, writing without words. I sit and look.
My work has roots in music and language. What it shares with music is that meaning is not a given. From language I have learned that sense gets in the way of words. Adding and subtracting, erasing and watching: I love the intricacies of a process that takes me all over the map and ends when the thing I knew had to be there all along becomes visible. - Dieter Kuhn
Norbert Masal: My current body of freestanding sculptures and bas-relief works goes back to the assembling of basic positive and negative shapes from reclaimed studio materials found in metal shops, mixed media studios, and my own workspace. The negative shapes are made visible through my juxtaposition of the geometric with the biomorphic, angular metal fragments with wisps of color and light, closed and open. Assembled into three dimensional objects by way of free association they claim and actualize space, allowing the formation of a potential other reality in the mind of the viewer. Several heavier gauge metal sculptures were begun during a metal forging seminar with a medieval armor maker at the School of Visual Arts. Like personal armature, the interloping metal curves are not perfectly sealed and allow for the vulnerability or penetration of the form, as light passes through and mental spaces begin to open. In contrast to the heavy metal of armor, their delicate frameworks embody the idea of protection and human vulnerability, their interlocking positive and negative spaces are symbolic of a mood or state of mind. – Norbert Masal
Cindy Millin: My work is not about anything in particular except the process of painting. I am intrigued by the physicality and the malleability of paint. The process is slow and open-ended. I am without destination. I paint. Intuitively, I construct, deconstruct and reconstruct. The surface becomes dense and tactile, often awkward. What remains is ragged and broken, layered unevenly, reflecting the residue of time. - Cindy Millin
Scott Reeds: After a 30-year effort in printmaking I've returned to my sculptor's roots. My old sculptures were large, tongue-in-cheek, site-specific and slightly subversive.
My new ones, smaller in size, began somewhat by accident. I was struck by the transformative properties of thick acrylic gesso as a modeling agent. Each piece evolved differently by twisting and folding aluminum sheets with both hands. Later, the metal is dunked in a tub of acrylic gesso until the desired contours are formed. When cured they are painted and emerge as a series of three dimensional gestures. I followed in a similar method using stretched linen. Using the adhesive properties of gesso to make a relief of veins or fissures that mimic tree branches or root systems.
They owe much to drawing and they pull together everything I know from everywhere in the studio. Like new topographies they are uncharted the sort of serendipitous reward that comes only after years of work. - Scott Reeds
Image: Norbert Masal
Opening: Saturday, June 6, 5-8pm
FiveMyles
558 St. Johns Place
New York
Tue - Sun 1pm to 6pm