artinbrooklyn.com » Sculpture

Artist Profile: Tyrome Tripoli

admin — Wed, 22 Feb 2012 07:08:06 +0000

Green Form (detail)

Red Plastic Form

GardenScape

Yellow Growth from Grid

AirConGreenCircle

Artist Statement

Generally my work is about integrating disparate elements, creating unlikely relationships and new meaning to appropriated objects and industrial materials.

Plastic Construction Series:
This series is comprised of blending pre-existing forms into unexpected juxtapositions. The objects are connected and fit together as if they were made that way. The parts are fastened with metal rod and hardware. While the objects are seemingly incongruous, they are integrated through color, shape and its past life.
I think of this work as abstract painting. My palette is a very carefully sorted library of random objects, industrial discards and post consumer waste. I consider every little piece in my palette as a brushstroke with a pre-existing color and shape. While most artists have certain rules that they abide to when making art, I’m against applied color and manipulating the pieces to fit. As the objects are related to each other and fastened onto the canvass, they become blended and transformed into a unified painting. The end result is a pixilated rendering made from the reuse of the mundane.

Found objects are used “as is” and combined into simple composites. The materials become transformed as the referential information of the object’s past life is obscured. It is the relationship between the materials that causes a subtext of new meaning and leaves the piece open to metaphoric exploration.

Found Surface Series:
A subtle drawing is blended into the natural deterioration of a found material. The drawing is secondary and is only meant to accent the organic qualities of the aged surface. The materials are chosen according to the revealing marks of its past life. Then, a sculptural relief or drawing is blended into the surface. My intention is to highlight the discreet beauty found in the commonly overlooked.

Website

http://tyrometripoli.com/

Temporary Shelters by A Wrecked Tangle Press

Art in New York City » Brooklyn — Mon, 25 Jul 2011 09:00:15 +0000

Temporary Shelters is a book object built into a landsnail shell. The text begins curled into the shell as one long scroll to be unfurled and, ulitmately, detached completely by the reader. Each book is encased in dirt in a cardboard box, from which the reader is instructed to fill the emptied shell with dirt and plant a seed. Equipped with a gold chain to hang it from, the shell/book which begins as a shelter for the text becomes a home for a new plant. The theme of the book confronts the idea of homemaking as an instinctual response, where a detached narrator observes the habits of people and animals in attempts to understand their own relationship with the temporal body.

http://www.intermediapoetry.com/2011/07/temporary-shelters-by-wrecked-tangle.html

Robin Antar

Art in New York City » Brooklyn — Sat, 11 Jun 2011 14:11:29 +0000

My passion as a sculptor involves a technique I uncovered more than 20 years ago — the precise art of creating “virtual records” of contemporary culture — capturing common, everyday items in stone. Essentially, I replicate these items on a real life-scale, complete with meticulous detail. I achieve this absolute realism by incorporating parts of the actual object, as well as custom-made stains, paints, plastics and gold leaf. It’s more than art imitating life, it’s art mirroring life.

My abstract work is a reflection of my experiences combined with emotion. Each abstract creation is one of a kind, and has a unique significance, which emanates an essence and an aura of its own. The life-like creations from stone, chiseled meticulously to perfection, form a visual extravaganza as well as an intellectual playground of wonderment. Each time you look at apiece, you see something different, allowing you to draw in its beauty through your individual perspective. The true beauty of abstract art is not just what appears to the naked eye, but what lies beneath the surface.

Email: info@rantar.com
Web: www.rantar.com
Blog: www.stonesculptures.org

Cat Del Buono

aib-admin — Sat, 30 Apr 2011 18:52:31 +0000

1)”Your Face Here,” 2010. This interactive video/sculpture aims to incite viewers to examine the cultural constraints put upon their self-image, to question our definition of feminine beauty, and to encourage a dialogue about excessive and unnecessary surgery, implants, and augmentation.

2) “Peel/Pluck/Primp,” 2010. This video piece examines the tactics women go through to obtain beauty. With the subject performing various “grooming” techniques with exaggerated sounds, I attempt to emphasize the oddness and humor of these strange rituals and to comment on how we define beauty.

3) “Pressure/Release,” 2010. This video is a collaboration with Miami-based performance artist Antonia Wright. As Antonia tediously inflates balloons one by one, she becomes exhausted and engulfed by the very balloons she creates. Her release comes from popping each one, freeing her from the balloons and all the effort she put into them. The balloons represent the overwhelming abundance and acceptance of fake breasts in today’s society.

After being formally trained as a filmmaker and photographer, I began experimenting with displaying the moving image in alternate ways. Rather than using the traditional single-screen format, my videos are displayed with multiple monitors and projectors or as part of a sculptural element. By not limiting my work to a strict definition of a format, I challenge myself technically while aiming to make a statement and engage my viewers. A recurring theme in recent projects is challenging social and identity issues, such as nationality, gender, and stereotyping. An important part of my creative process includes collecting images, experimenting, and collaborating with other artists.

www.catdelbuono.com

Jason Brammer

Mike — Tue, 22 Mar 2011 16:00:05 +0000

“Time Machine LXI” Acrylic, Plaster, Antique Hardware, Salvaged Velvet, and Metal on Wood, 2010 Size (H x W): 18” x 11.5” (total size)

“Time Machine LXIII” Acrylic, Plaster, Antique Hardware, Copper, Recycled Leather and Wood on Canvas, 2011 Size (H x W): 21.5” x 22” (total size)

“Time Machine LX (Entering The Pasture)” Acrylic, Plaster, Antique Hardware, Wood, Tubing, and Copper Pipe on Masonite, 2010 Size (H x W): 40” x 24” (total size, including attachments)

“Time Machine LI” Acrylic, Plaster, and Cable on Canvas and Hand-carved Sign Board, 2010 Size (H x W): 42” x 48.5” (total size)

“Time Box XI” Acrylic, Plaster, Antique Hardware, and Cable on Masonite 22” x 18.5” (Total Size)

Statement
My “Time Machines” series is a collection of mixed media paintings incorporating 3-dimensional, sculptural elements. The pieces, at their core, are paintings on canvas or masonite that I create by applying acrylic paints, colored plasters, and transparent glazes using a combination of airbrushing and traditional painting techniques. Then, at various stages of creating the painting, I attach real objects, such as antique or salvaged hardware, cables, and carved wood pieces, to the edges and/or the face of the painting.

My “Time Machines” evolved out of my love for turn-of-the-century aesthetics as well as the mechanical, futuristic environment that surrounds me in Chicago. I create these “machines” to look like they were constructed in 1901 by a time traveler who was renting a room from my great grandfather. As the story goes, this traveler disappeared one day and the contents of his boarding room became the possession of my great grandfather. These articles were transferred to me through a will and now I am repairing the machines and they are beginning to work again. In any case, I want my “Time Machines” to give the experience of glimpsing into another era, dimension, or lifetime.

I recently got the chance to exhibit a couple of my “Time Machines” at the Verge Art Brooklyn fair with Firecat Projects from Chicago, IL, where I am from. I really enjoyed being a part of the fair, getting to know the arts community in Dumbo, and meeting a lot of interesting and supportive people in Brooklyn. I hope to be back soon and to show more of my work in this awesome city.

Website
www.jasonbrammer.com

Vincent Romaniello

Mike — Wed, 02 Feb 2011 03:06:51 +0000

1. Name Tags, 2011, paint, paper, glassine, each piece 3x4 ft

2. Pink Slip (Waste Not), 2010, paint on seamless backdrop paper, 53x84 in

3. Last Straw (Waste Not), 2010, paper, paint, foam, extruded acrylic, 12x8x120 in

4. May Wave, 2010, zero voc house paint on canvas, 36x42 in

5. Big Spill, 2010, zero voc house paint on canvas, 84x64 in

Current Exhibitions

Process: Abstract Painters
Brooklyn Artists Gym
January 29-February 10
168 7th Street, Brooklyn, NY

An Art Exchange with Sol Lewitt
January 20-March 5
300 Nevins St, Brooklyn, NY

Website
http://vincent-romaniello.blogspot.com

Blog
http://romanblog2.blogspot.com/

Elena Yamamoto

Mike — Mon, 24 Jan 2011 00:36:36 +0000

Statement
Elena Yamamoto’s works are thoughts bound up in sources, process, and materials: photos made from negatives that my father took when he was just a few years older than myself; the sun-soaked cyanotype prints with their natural, distinctive, and seductive blue; silk in its softness, its play in the light, its living quality; cedar with its scent and preservative property.

All of these materials, all of these things, each personally important and meaningful, are tied and pinned and sewn together—slowly, quietly, meditatively—in order to become a collection of intimate, personal objects. These objects are manifestations of time spent with ideas, created by a repeated motion of the hand, thought on and thought about. Some of them are just small musings, haphazard thoughts made big through the time it took to meditate and make them, while others are those big ideas of family, legacy, intimacy, and relationships, made small and manageable through their expression in the physical.

These objects—reliquaries, even—contain elusive, ineffable thoughts. Words and sentences and explanations tend to limit our understanding of things, failing to capture ideas and experiences in their entirety, reducing the complexities of feelings and emotions to mere sentiment. And so here instead, I, with cautious hands, tug and pull to lay bare my quiet, personal thoughts and moments for you to ponder.

Website

http://www.elenayamamoto.com/

Current Exhibit
http://extensionsofmemory.tumblr.com/

Lindsay Kolk

Mike — Mon, 24 Jan 2011 00:30:47 +0000

Lattice

Shell

Vestige

Statement
Whether printed on the page, manifest in continuously looped forms, or carefully arranged structures Lindsay Kolk quietly meditates on the repeated mark. At once familiar and consistent, these marks are intuitively and carefully manipulated, obscured, even destroyed; efforts that intrinsically assign value even to that which appears as a remnant.

Website
http://elmehr.wordpress.com/

Current Exhibit
http://extensionsofmemory.tumblr.com/

James Chen-Feng Kao

Mike — Sun, 31 Oct 2010 00:42:45 +0000

Artist Statement
I want my work to capture the viewer and take them elsewhere. I provide the impetus for this journey without dictating the destination. I do this through drawings, sculptures, and installations that present suggested stories and abstracted characters. I render characters using Chinese calligraphy ink strokes, I paint a pattern titled “Skullscape” onto character sculptures, and I place figurine multiples into specific formations. All these actions mix the element of abstraction with the cartoon, and add an extra layer of masking but suggest fragments of stories and personalities. My art lies in the moment of interaction between the viewers and the work: when they decipher and realize what they see is not what they expect, and this moment takes them to another place from present consciousness.

Website
http://www.jianfone.com/

Romy Scheroder

Mike — Sun, 17 Oct 2010 23:23:50 +0000

Moco Jumbie, 2009

Broko Foot, 2009

Skin, 2008

Shuck and Jive, 2009

Biography
Trinidadian born artist Romy Scheroder received her BFA in Ceramics from Florida Atlantic University and her MFA in Sculpture from the University of the Arts in Philadelphia. In addition to having worked more than a decade in the gallery and museum industry, Romy has taught at a number of institutions, including the University of Pennsylvania and currently at Green Mountain College. She has exhibited in a number of venues domestically and abroad, including The Asian Arts Initiative, Brunei Gallery, Exit Art, Visual Arts Center of New Jersey, Woman Made Gallery and university museums including Norwich University, the State University of New York at Brockport, The University of the Arts and the University of Tennessee.

Artist’s Statement
As a Trinidadian born artist, themes of identity and displacement run through my current sculptural work. As a sculptor and conceptual crafter my process is meditative and time intensive. It involves removing the functionality from domestic objects and furniture, transforming their utility through a complex process of embellishment and alteration. I am drawn to marrying materials and objects that can upset or distort reality, alternately evoking disquiet, sentimentality, and the sense of the strangely familiar. In my recent work the chair has been the dominant form. This is because it is suggestive of the human body, and the female form in particular due to its connotations of domesticity and utility. I am interested in exploring how this form may be skewed through displacement, and how emotion may be communicated through structure and material.

Website
www.romyscheroder.com

Robert Raphael

Mike — Sat, 09 Oct 2010 16:00:51 +0000

Le Petit Trianon

Le Petit Trianon detail

Narcissus

Narcissus Detail

Warm Brothers

Artist Statement
The decorative is often seen as superficial, but I believe in its power to seduce us into greater depths. Anyone can reflect upon the decorative arts, whether experienced through the mediums of architecture, furniture, wallpaper, or manicured gardens. My sculptural works draw on the history of decorative art and how it is perceived. My use of the decorative becomes the code for my language of desire, sexuality, gender, and pleasure.

In my most recent works, I am constructing structures and wall elements out of lumber, a traditional material for building. The sculptures refer to architecture and construction, but are imbued with elements and processes that incorporate the decorative. I create ornate visual surfaces using materials such as porcelain, ribbon, wood, and paint. Within the work, I am creating a dialogue between the viewer’s understanding of structure and ornament: masculine and feminine. The viewer is confronted with the formal language of sculpture, while the ornament and pattern are experienced pervasively. My sculptures provide a forum for the viewer to use their understanding of my materials and processes to make associative connections.

Website
www.robraphael.com

Lisa Dillin

Mike — Tue, 04 May 2010 11:33:37 +0000

1. Award Plaque for H. Waldenford – 2009 – Laser-engraved brass, cherry laminate, MDF – 10″ x 8″ x .5″

2. I’d Rather be Fishing – 2009 – Custom-printed ceramic – 4″ x 5.5″ x 3″

3. Window A – 2010 – Aluminum, formica laminate, fluorescent lighting – 42″ x 62.5″ x 4″

4. Under the Desk Escape Unit – 2010 – Found objects, mixed media, and video (interactive)- 65″ x 108″ x 30″

5. Untitled Ad for Roar Design – 2009 – c-print, 20″ x 30″

Artist Statement
This work re-presents a mental landscape, an office-scape, used as a symbol or stand-in for contemporary culture at large. Stemming from an interest in the exploration of the psychology of the individual in contemporary culture as contrasted with the primitive psychology of man, this work offers a synthesis that highlights the latent tension between our former modus operandi and our current structured status. While this lifestyle transformation may be recognizable in the lives of the majority, I focus on a specific grouping of individuals, those living in a maximal built environment, the urban environment, cut off from the natural world. This new normal position removes the sights, sounds, scents and behaviors integral to life in the natural world and replaces it with a myriad of man-made objects and experiences centering around the idea of function or purpose in relation specifically to the human being. No longer residing in a subsistence-based communal setting where a reactionary attitude to our environment is part of our survival technique, we now plan for our survival in a construct based in politics and the economy.

The Arts provide a unique escape from this practicality, this need for function or popularization in a market-driven economy for both the fabricator (or art practitioner) and the viewer/collector. To recognize this fact is to provide evidence of the enduring appetite to witness an idea, a feeling, or an aesthetically driven combination of color or pattern that stretches beyond the rigidity common in other areas of our experience. To some extent, the strong economy of the art market itself is evidence of the desire for the unique or rare object, rare because it was not mass produced and is not readily available. On the other hand, it must also be recognized that art objects themselves are now bought and sold purely on the basis of commodity value.

Humor, absurdity, or dysphoria may be an element present in my work in it’s often-times futile attempt to provide a response to the predicament of life in contemporary culture in the form of simulated nature. It is through this lens that my work investigates the tension between our past and out present modes of conduct.

Website
http://www.lisadillin.com

Artists’ Open Studios in Red Hook, Brooklyn

Mike — Sun, 25 Apr 2010 15:37:56 +0000

Saturday, May 1st and Sunday May 2nd, 2010 from 12–6 pm

Screwball Spaces, Gowanus Canal’s newest addition of artists’ studios in Red Hook, Brooklyn, opens its doors to the public for a rare glimpse into the work spaces of New York’s contemporary artists.

http://openstudios.screwballspaces.com/

Henry Chung, Studio 50, Anonymous #23, 36″ H x 24″ W (framed), Computer Punch Tape
http://www.HenryChung.com

Enrico Miguel Thomas
Studio 90

Miranda Maher
Studio No. 56
http://www.miranda-maher.com
miranda_maher@hotmail.com
miranda@miranda-maher.com
347-431-5275

Cat Celebrezze Studio 39

Title: Birds are Dinosaurs

Media: Laminate; Paper; Socket Head Screws

2010

Leoworks, Studio 27

Joetta Maue
waking with you, 2010, hand embroidered, appliquéd, and painted re-appropriated linen, and queen size bed, 60in x 80in. x 15in.
www.joettamaue.com
Studio #2

Yasha Butler, studio 80, Title: Off Circle, Media: Porcelain and Glaze / wheel-thrown and altered, Size: 6.5″h x 10″ x 10″, www.yashabutler.com

Nathan Gwirtz; ceramics arena #12; oval dish, 2010, porcelain, underglaze sgrafitto, glaze; nathangwirtz.com

Susan Heller, Studio 15, “Layered Form”. I am in Studio # 15, http://www.susanhellerceramics.com

Linda Tharp, Studio #64, Oil on Panel, 12″ x 24″, www.LindaTharp.com

Joshua R. Marks, studio 97, “Epoch”mixed media, 36″h x 19″w x 11″d, 2010

Lake Lahontan, 17 x 22″ poster from the Siting the Geologic series, 2009.
Jamie Kruse / Elizabeth Ellsworth
smudge, studio #37
smudgestudio.org | friendsofthepleistocene.com

Lydia Reinhold, Studio 77 Screwballspaces, acrylic on canvas,2010, 47″X 63″, detail.

http://www.lydiareinhold.com

Kathleen Collins, Studio #96; Gates, Central Park, contact: kathc@juno.com
website: www.kcollinsphotography.com

Megan Berk, Studio 93, Pool Party, 2010, acrylic on panel, 42″ x 34″, http://meganberk.com/

John Tebeau, “Monopoly Smackdown”, Studio 43, http://jctebeau.etsy.com

Andy Mister, Studio #89, Title/Dimensions: Tate, Graphite on Paper, 40 x 50 ins.
Website: http://registry.whitecolumns.org/view_artist.php?artist=9489

Brendan Donleavy, Studio 62, The Tinker, Oil, bdonleavy@gmail.com
.

Dana Atherton, Studio 62, Abstract Collection, Oil dana.a.atherton@gmail.com

Spring Hofeldt, Studio 2, “tough love”, acrylic on board
spring@springhofeldt.com
www.springhofeldt.com

Dave Marin
Image:Untitled, 20 x 20 Digital Photo Print, 2009
Studio #92 Screwball Spaces, Websit:e davemarinart.com, Email: davemarinart@gmail.com

John Shorb; Rowan Oak IV, 2010, 30″ x 11″, Transfer on paper; http://www.johnshorb.com

Kyoko Sera, Studio 44, Title: Seeking an Unfragmented Life: Cross Model 0-4, Installation; acrylic on cloth, canvas

Julia Whitney Barnes, studio #74; La Jardiniere, 2009, 120 x 310 x 15″ (dimensions variable), mixed media (porcelain, stoneware, earthenware, glaze, oxides, gold luster, wood, epoxy, wire and acrylic paint); www.juliawhitneybarnes.com

Akiko Kato, Studio #86, Title: emergence + re-emergence, Media: Sterling Silver 0.925, 18KYG Vermeil; Contact Info: info@beroepbklyn.com, www.beroepbklyn.com

Peter Patchen, Studio 76, http://www.peterpatchen.com/

Hearken, 2009, Media: 3D Print, Bronze/Iron Patina, Software: Maya

Michael Sorgatz, studio 43; Union Square Farmers Market, 16″ x 20″, Acrylic on Canvas; www.mikesorgatz.com

Malin Abrahamsson

Mike — Sat, 30 Jan 2010 20:04:32 +0000

“De/Con/Struct”
2009
Mixed media on canvas
24″ x 36″

“Pile of Homes”
2009
Mixed media
4′ x 5′ x 4′

“The New”
2008
Mixed media on canvas
36″ x 48″

Artist Statement
What appears simple just demands a different kind of patience than what is scraggly and complex.

Website
http://malinabrahamsson.com

Richard Silver

Mike — Tue, 24 Nov 2009 03:54:33 +0000

Construction Workers Vegas

Caracas Marketplace

Eiffel Tower

Acropolis

Taj Mahal

Artist Statement

“TILT-SHIFT”ing the World

Tilt-Shift, What type of photography is that? people always ask me. How do I make people look so small or why do I make people look so small, simple…WE ARE. In the big picture we are just a small blip of what the world truly is. I enjoy the power I have to change the perspective of the way people look at the world and maybe at themselves.

Photographers need inspiration like all artists of all types of art, mine is travel. From my series “Tilt-Shift”ing the world you can see only a small piece of the world that I have seen. Travel-Photography, Photography-Travel, they go hand in hand with me. The love of both is one. My passion to try and make the iconic places and structures that man desires to see and has for centuries traveled to see, is the same desire that drives me to go there and photograph them. I have been an avid photographer for over 25 years and have taken thousands upon thousands of photographs of iconic buildings. I’ve had the pleasure to “X” off from a list that grows and grows as new architects from around the world build new buildings for me to see and explore.

Life is said to be too short and I agree with that simple statement. I have goals like every artist does and mine is to “X” off as many places around the world until I run out of places to see or I run out of time.

Biography
1961 Born in Brooklyn, New York, USA
Lives and works in New York, NY USA

Exhibits
2002 Metropolitan Museum of Art, New York
2003 Camera Club of New York, New York
2006 Kolo-submission work
2008 Kolo-submission work
2008 The Skyscraper Museum, New York
2008 Schmap “Miami Guide“, Miami
2008 Ansonia Pharmacy, Solo Show, New York
2008 www.NowPublic.com, “Potent Greenhouse Gas” Publication
2009 Lana Santorelli Gallery, “New York, NY” Group Show, New York
2009 Chelsea Wine Vault, Solo Show, New York
2009 Baboo Digital, “Different Flavors“, Group Show
2009 www.artscenetoday.com finalist
2009 www.InfinityArtGallery.com finalist
2009 Lana Santorelli Gallery, New York, NY Group Show “Gastronomy”
2009 New Artist featured with www.LUMAS.com

Website
www.richardsilverphoto.com

Kwabena Slaughter

Mike — Sun, 18 Oct 2009 01:58:40 +0000

Oh, Very, Yes!, detail 1

Oh, Very, Yes!, detail 2

Installation View

Artist Statement
I think of cameras, along with photographs, as cultural artifacts. In the same way that an anthropologist can look at jewelry or clothing to learn about the culture that created those things, the design of a camera and the photos it takes can tell us about the culture that created them.

The camera, as we know it today, evolved out of Renaissance painting experiments in linear-perspective. A few curious chemists simply put a piece of light-sensitive paper in the light path. As a result of this particular history, photographic images still bear a strong aesthetic kinship with western painting. Stripped of its cultural history a “camera” is simply an enclosed object with a hole in one side through which light enters. As such, the camera predates photography by thousands of years. With these factors of origin, evolution, and technology as a starting point, my work asks the question: “what would photography look like if it had grown out of a different aesthetic tradition?”

The photos I make explore the representation of space, time, and narrative through a panoramic style. Using a specially modified camera I shoot directly onto long rolls of color slide-film. The image fills the entire film-strip, without any frame breaks, looking much like a photographic scroll. The strips of slide-film, which can be up to 100-ft long, are displayed on light-boxes. The long horizontal strips of film serve as both as a measure of the dimensions of the subject and also as a record of the subjects movement over time.

Biography
With an extensive background in the visual and performing arts, Kwabena Slaughter brings together fresh new ideas on the nature of art and aesthetic experience. His current work in photography investigates the relationship between the camera, photography, and the painting traditions that precede it. Instead of accepting the historical narrative that leads from linear-perspective, through the camera obscura, to photography; Kwabena imagines an alternative history, one in which photography grows out of scroll-painting. Working with cameras that the artist modifies himself, Kwabena makes single images that occupy the entire length of a strip of slide-film. These strips of film can be up to 60-feet long.

Kwabena’s video and photographic work has been shown at premier institutions in the U.S. and abroad, including the New Museum, and the Studio Museum in Harlem. He has been a resident at the Art Omi International Artists Residency, the Center for Photography at Woodstock, the Bronx Museum’s AIM Program,
and Smack Mellon Gallery. His grant credits include the New Media and Technology Grant from the New York State Council on the Arts. Kwabena’s performing arts credits include acting in the Brooklyn Academy of Music’s Next Wave Festival, dancing with a trapeze-dance company, and stage-managing for a clown school. His writing on aesthetics has been published in the journal “Philosophy and Social Action”.

Website
www.kwabenaslaughter.com

Miya Ando

Mike — Wed, 30 Sep 2009 02:58:02 +0000

A descendant of a Japanese Samurai sword maker, Ms. Ando is a much sought after metal sculptor whose most recent piece was recently unveiled at St. John’s Bread & Life in Bedford Stuyvesant, the largest provider of emergency food services in New York City. Ando’s grid of 144 steel canvas squares work together to compose a visual symbol of hope. The piece, titled Fiat Lux, which translates to “Let There Be Light,” is the focal point in the center’s nondenominational meditation room. It supports Bread & Life’s vision of giving strength and serenity to those who are battling an array of problems, including hunger, poverty, and related stress.

“With this piece, I wanted to create something spiritual but non-denominational so that it would speak to all the guests who visited the soup kitchen,” said Ms. Ando. “The piece provides a meditative environment to encourage introspection.”

Artist Biography

Ms. Ando was raised in two distinct cultures, a Buddhist temple in Japan, where she was cared for by swordsmiths turned Buddhist priests, and a mountainous region of Northern California. For more than a decade, she has created artwork on steel canvases utilizing traditional metalworking techniques such as grinding, sanding and the application of heat, along with acids, solvents and metal-based pigments to create various textures. Her background and spiritual upbringing infuse her artwork, which create quiet, abstract, meditative environments.

Website

http://www.miyaando.com/

Soraya Marcano

Mike — Fri, 18 Sep 2009 13:18:44 +0000

Exile
This is a “book” of paper, ink, acrylic, and thread. It was created in
1998 and appeared in the December/January, 2002 issue of the British
magazine Art-Review. It is also featured in the book A tale of two
cities (Impact press, 2001.)

Website
http://sorayamarcano.blogspot.com/

http://www.neoimages.net/artistportfolio.aspx?pid=509

Luis Blackaller and Andy Cavatorta

Mike — Sat, 22 Aug 2009 12:36:12 +0000

“Honey I Shrunk Red Hook” at Lucky Gallery is a collaboration between Luis Blackaller and Andy Cavatorta, who aim to start a creative discussion about Red Hook, the inhabitants and folklore. The mission of this project is to bring together a diverse mix of members of the Red Hook community to use art and gallery space as communication devices. Blackaller and Cavatorta will create a cardboard model of the streets surrounding Lucky Gallery, and build a collection of photorealistic dolls representing Red Hook dwellers.

“Red Hook has an air of mystery that I can’t find anywhere else in New York,” explains Blackaller. “It feels somewhat uncharted, perhaps separated as it is from the New York comprehensive subway network. When thinking about making art for Red Hook, I immediately feel like using this art as an excuse to get closer to the people in it, and learn about the place from them hopefully helping them learn from each other in the process.”

The closing reception on Saturday, August 29, will feature a short film projected outside the gallery featuring highlights from the opening, the exhibition and interviews. The photorealistic dolls of Red Hook inhabitants will be given to their rightful owners and there will be live music from local musicians. Food and drink will be provided.

August 8th to August 30th, Lucky Gallery
Closing reception on Saturday, August 29, from 6-10 PM

Luis Blackaller is an artist from Mexico city with an interest in culture, technology and media. He graduated with honors as a Mathematician in the National Autonomous University of Mexico. He has worked as a Designer, Art Director and Motion Graphics Artist in the Mexican film industry for 10 years. He recently graduated with a Master of Science Degree at the MIT Media Lab under the mentorship of John Maeda, where he explored online creative social systems and their relationship with artistic expression and communication.

Andy Cavatorta can’t stop making things: robots, bikes, art, music, software and films. Sometimes the robots make more music, the software makes more art and the bikes shoot movies. He is currently developing musical robots and large-scale performances and installation with Ensemble Robot. Cavatorta is currently a graduate student at the MIT Media Lab.

Megan Berk

Mike — Sun, 26 Jul 2009 14:44:55 +0000

Palm Springs 6, acrylic and aquarelle on panel, 34×60

Palm Springs 5, acrylic and aquarelle on panel, 34×48

Retreat, acrylic and aquarelle on panel, 34×28

Artist Statement

My recent work investigates the shadows of the American middle-class landscape. I locate surface qualities that both seduce and haunt, simultaneously evoking my own middle-class desires and a recognition of the feebleness of those desires: things coming and going. A vantage point. Translating those surface qualities becomes a way to work through the tensions within my creative life; I want both beauty and grit, just as, perhaps, I want aspects of the suburban dream as well as the right to criticize it.

By following the areas of seduction- palm trees against a pink sky, the sweep of a smooth concrete driveway– the contradictions of suburban desires present themselves. The darker, less-defined areas mark an entrance into the real domestic life of the place. Ideas and longings flicker and disappear. A walkway leading to a house, possibly a home, is barely visible in the darkness of night – or obscured by memory itself. The empty spaces hold something.

Contact

www.meganberk.com
meganberk@hotmail.com

Alex Downs, Laura Gibson, Chad Rimer

Mike — Sun, 12 Jul 2009 16:04:19 +0000

Exhibit at Sweet Lorraine Gallery, contact artists for viewing information.

Alex Downs – Vessels
Email: downs2681@gmail.com
Web: http://www.flickr.com/photos/downs2681/
Phone: 347-387-2382

Laura Gibson – Drawings
Email: bella.gibson@gmail.com
Phone: 718-775-1557

Chad Rimer – Sculpture
Email: chadrimer@yahoo.com
Phone: 718-775-1556

Bruce Davidson’s 1959 “Brooklyn Gang” series

Mike — Mon, 20 Apr 2009 16:00:32 +0000

A new Bob Dylan video features photographs from Bruce Davidson’s 1959 “Brooklyn Gang” series to illustrate the song. In the spring of 1959, Davidson met a group of Brooklyn teens called “The Jokers”. That summer, he photographed the entire gang in their natural habitat, from hanging out late at night on the street corner to taking a Coney Island beach trip with their girlfriends. The “Beyond Here Lies Nothin’” video will appear exclusively on Amazon’s homepage until Wednesday, April 22, in the Bob Dylan Store for 30 days thereafter.

The complete series is on the Magnum website.

Melissa McClain

Mike — Mon, 09 Mar 2009 23:17:09 +0000

Untitled

Iris

Lexi No. 2

Artist Statement

I am a self-taught photographer who grew up in Dallas, TX and now live in New York City. When creating my work I look for interesting colors, patterns, and textures that will create a dynamic palette in the final photo. I am intrigued by the interaction of humans and nature to create “hidden” art. This hidden art presented as abstract photography with dramatic colors and textures has now become a very prominent feature in my work.

The body of work that I am working on currently is Water Colors. The Water Colors Collection combines my intrigue in the art of painting and my love of photography and colors. Water Colors initially appear, perhaps, as an artist’s painting but could be called “nature’s paintings” because nature and time provide the texture and patterns that transform the ordinary subjects into discovered art. This art is then captured through the lens of the camera.

Water Colors photos are taken with a digital camera and software is used to brighten the colors to their rich and vibrant levels. Every Water Colors print is unique and everyone’s “vision” individual.

Website

http://www.melissaannegallery.com

Carol Quint

Mike — Tue, 28 Oct 2008 02:08:43 +0000

REST IN PIECES
Limited Edition Color Photograph of original sculpture by Carol Quint
10″ x 8″ photo

Artist Statement
The foundation of my work is the exploration of archetypal imagery. The images become surrogates for a broad range of emotional experience. They are grounded in symbols that elicit recognition on a subconscious level.

Currently, I am building sculptures that are in themselves artifacts, evidence of my efforts, which are now in the past.

My process involves creating, recycling and reconstruction. The content and function of these works reflects both a sense of time past and time present, qualities that are in the nature of a relic.

Website
http://www.carolquint.com/

artinbrooklyn.com » Sculpture

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