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15/11/2006

Two exhibitions

Broadway Gallery, New York

Gencay Kasapci: Fifth Season

Imagine zooming in on an object so that the forms disintegrate and all that is left is a sea of color and shape. In the extreme, under a scientist’s microscope, the image would consist of basic elements joined in dynamic bonds. What on a large scale appears static is in non-stop motion on a molecular level. Gencay Kasapci tries to visualize these concepts in her abstract paintings and sculptures. Whether on canvas or glass, many of Kasapci’s works consist of harmonious spots of color forming an organic, circular pattern.

Kasapci was born in 1933 in Ankara, Turkey, and studied at the Istanbul Fine Arts Academy before heading over to Florence in 1959 to study mosaics at the Florence Fine Arts Academy, having earned a scholarship from the Italian government. After she completed her studies in Florence, Kasapci moved to Rome where she had a career as a professional painter. During her time in Italy, Kasapci was exposed to Minimalism, which, in turn, influenced her artwork heavily. By 1966, Kasapci returned to Turkey where she currently resides. Her most recent work has been sculptural, an exciting addition to her established painting oeuvre.

In Kasapci’s canvases, there is a balance between an almost random application of paint within a deliberate, circular composition. In all of her paintings, the handling of paint is notable, specifically in terms of the range of marks of color on the surface. Kasapci’s earlier works depict naturalistic images. Here, visually, she breaks down the images by dabbing pigments next to each other as well as in layers. This happens all over the surface giving the effect of walking in a snow storm or through the forest in autumn as leaves of all hues make their way down from branches in a mild wind. In her late paintings, the images of trees and nature dissolve and become entirely abstract.

The later works are more successful in that they only concern themselves with paint application. Other aspects are, like the depiction of realistic objects, deleted. Thus, it is easier for the viewer to focus on what is most important when those representative objects are absent. All her canvases have an organic feel and, in her most recent works, it seems as if images from nature were chosen for close-up shots to be investigated for hidden color and shape.

Kasapci’s palette is harmonious, working with shades of green, yellow and ocher. It is also occasionally accented with pale blue and an even fainter pink. In each of her works, the hues mingle together effortlessly. This suggests the idea of a microscopic look in on one particular object that may contain various hues such as a blade of grass which, at first glance, appears entirely green, but, with a second, more detailed look, tiny hints of other colors reveal themselves to the trained eye.

Kasapci’s sculptural work shows a similar application of paint onto various materials such as glass using a mirror as a base. Kasapci frequently contrasts the organic brush marks by using geometrically shaped glass with sharp edges. As seen in her paintings, Kasapci forms concentric contours with small dots of congruous hue. The incorporation of a mirror surface adds depth to her pieces. Kasapci has also painted on pyramidal glass mounted on a mirrored base. The resulting work is reminiscent of a prism.

In a handful of her sculptural pieces, Kasapci mounts two squares on the diagonal and parallel to each other. She then paints the same circular pattern on both pieces of glass, using slightly different color and value, such as a pale baby blue and an intense ultramarine. In one instance, Kasapci continued to expand her marks over the edges of the square and onto the base, alternating the color as she went. In another example, the mirrored base was left untouched so that that which was formed by the two squares was reflected. Whether alternating the shape or color of the materials, all her sculptures show a complexity missing in her canvases. Adding dimensions, moving from a flat surface and onto a tangible, transparent object intensifies her images and her artwork.

Her progression towards the abstract makes her work stronger as it emphasizes the most important aspects of the painting, making it clear rather than leaving it up to the viewer to find it for himself. Furthermore, her sculptural work shows even more intricacy by taking the important elements from her canvases and expanding upon them in a new medium.


Ari Liimatainen: Solo Exhibit

World Art Media is pleased to announce the NYC debut solo exhibition of Finnish painter Ari Liimatainen. Scheduled to run from November 16th to the 30th at Broadway Gallery (473 Broadway, 7th Floor, NY, NY 10013), the collection will feature new paintings made specifically for this exhibition.

“Space and time are very inspiring concepts, and I consider myself an observer, who looks at the world from the wrong side, at time and space from behind. A kind of realist, who looks at the real world but stays outside, somewhere else."

Ari Liimatainen regularly exhibits at galleries throughout Finland, Sweden, Canada and Denmark.


Opening November 16th, 6-8PM

Broadway Gallery
473 Broadway, 7th Floor New York, NY 10013

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