January 10 – February 1, 2015
Reception: January 10, 6-8 PM
“The frank depiction of the male figure has been a sort of taboo in modern and contemporary art, except I suppose in photography. Some painters have masked the sexuality of the male figure with a veil of classicism; some have used a cartoonish style to make the images less challenging.
My way of working with a decided emphasis on the sensuality of color and light seems to transmit the sexuality of the male figure in clear terms.
There are always people in the background who will say, “You can’t do that”. One of the artist’s responsibilities is to say, “I can and I must.” Then one keeps on applying oneself to the work, and making progress.”
Bacchantes and Bivalves
February 7 – March 1, 2015
On February 7th, 2015 there will be a solo exhibition (Bacchantes and Bivalves) by Thomas Micchelli. The work will be on display through March 1st with a reception for the artist on February 7th from 6:00 until 8:00 p.m.
“This show presents two bodies of work: Bacchantes, an ongoing series of paintings and drawings, and a set of two-part drawings called Bivalves.
Both represent a concern with the dualities that play out in the creative act — the self-conscious and the instinctual, the rational and the irrational. The Bacchantes derive from The Bacchae by Euripides as well as its adaptation by the Performance Group, Dionysus in 69, a groundbreaking work of immersive theater that was staged in New York in 1968-69 and documented in book form in 1970. The figures depicted in the series are not direct references to either narrative; rather, they are theatrical characters taken out of context and reimagined in visual terms.
Similarly, Bivalves came about after reading a selection of writings by Gaston Bachelard, Max Beckmann, Jean-Luc Nancy and others, which were suggested by Paul D’Agostino as a basis for a group exhibition in 2011 at his Bushwick project space, Centotto, where the drawings were first shown. Each consists of two sheets, vertically stacked, in which the images in the upper and lower parts intersect at distinct points along the seam, conflating two figures into one.”
“I look at the clay, yes, but more through it toward a possible image of a figure; one that is a variant and not me. The material, a necessity, must fuse with the person it describes. The tools and my hands leave traces, and even more so the moving around and re-arranging of pieces of the material (many of which contain the details) leave the remains of a story about work. This record; of my looking for – on the skin of what appears as another human should be seen as part of the particular terms of the culture of modeling, and in my case a hybrid: collage/modeling. The arrangement of material exceeds and sometimes only approximates. What is left over – the shaping that is outside the normative figure is not a form of style but the remains of many changes marking a movement toward the emergence of the other person.”
Bruce Gagnier, 2014
All Work courtesy Lori Bookstein Fine Art, New York, New York
John Davis Gallery 362 1/2 Warren Street Hudson, New York 12534