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1/3/2012

Cut and Paste

Muriel Guepin Gallery, New York

Curated by rhv fine art

Although the process of collage has been around for millennia it was George Braques and Pablo Picasso who, in the early 20th century, made the act of cutting and pasting disperate elements of paper, cardboard, string or basically whatever into works of fine art. This marked the beginning of a mash-up between "high" and "low" culture that would eventually occupy an enormous movement in contemporary art. RHV Fine Art has selected three artists, James Cullinane, Sharon Lawless and Andrew Zarou, from it's exceptional roster of artists, each of whom uses the technique of collage in different ways and to different ends.

James Cullinane
Starting with small diagrams of ceiling vaults taken from old architectural dictionaries that are collaged, layered and reconfigured, and incorporating materials as diverse as sink drains, map pins, paper and paint, James Cullinane builds his composition with rigorous process. The two dimensional optical effects that result from the process are accentuated by the addition of forms that are actually three-dimensional, like map pins, sink drains and paint. This conceptual bridge connecting implied or fictional space of the diagrams and physical space of the drains and pins forms a tension that is central to Mr. Cullinane's studio practice. He collects these disparate elements, both physical and intellectual, into layered, meditative compositions that reference classical mythology, French Romantic and Symbolist poetry, architecture and contemporary popular culture.

Sharon Lawless
Sharon Lawless explores the tension between random accidents and planned control in elegant collages on paper. She begins each piece by randomly selecting a clipping from her vast collection of found photographs, technical drawings and diagrams and other printed material, which she adheres at random to a sheet of paper. Building from the ends or sides of this collage component Lawless arranges a “rambling linear growth that resembles the smaller diagrams contained within.” Each element in the collage has a strictly visual, and occasionally uncanny, connection to the next that derives from optical phenomena rather than a literal reading of the elements original purpose. Taking only formal appearance into consideration Lawless “draws” until she reaches the edge of the paper. This transparent additive process is evident in the final composition and results in interesting, amusing or provocative accidental relationships.

Andrew Zarou
As a teenager Andrew Zarou was fascinated by the Cold War Era short wave radio transmissions that covert agents used to send coded messages around the world. Inherent in his deep interest in these broadcasts was his lack of understanding. In essence, his ignorance of the meaning of these electronic messages formed the basis of his interest. The random, repetitive lists of numbers and odd tone sequences riveted him as a child and forms the basis for Andrew's visual vocabulary today. His images are rhythmic recontextualizations of found images, graph paper, spray paint, aluminum foil and paper scraps. The meaning of the constituent parts of each composition are in most cases lost to the viewer. However, this loss of original intent allows us the opportunity to construct our own meanings and intentions. By working rapidly and in opposition to his natural inclination for order Zarou seeks to build spaces and map topographies through time, space and repetition.

Image: James Cullinane, Hurricane Sunshine, 2011. Acrylic, paper and map pins on panel, 36" x 30"

Opening reception: Friday, March 2, 6:30 - 8pm

Muriel Guépin Gallery
47 Bergen St - Brooklyn, NY 11201
Wed-Sat: 11AM-7PM
Sunday: 12PM-5PM
Closed Monday & Tuesday

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