DISLAND: Paintings 2013-2015
May 2 – 24, 2015
On May 2nd, 2015 there will be a solo exhibition of paintings by Priscilla Derven. The work will be on display through May 24th with a reception for the artist on May 2nd from 6:00 until 8:00 p.m.
“Where have all the people gone?
The people are all gone now except where they wash ashore like branches or other spindly, broken detritus. Tumult ensues: floods from raging creeks and rivers or tsunamis from rising oceans after earthquakes; landscapes disturbed as water recedes. I fly overhead in my imaginary plane soaring in, too close to the jagged cliffs, as I come in for the views. Nothing stays the same on our land. Water changes everything.”
On Saturday, May 30th, a group of artists will open the season with a medley of exhibitions for the Main Galleries, Sculpture Garden and Carriage House. In celebration, the gallery will have five solo shows (sculpture, painting, drawing, photography and mixed media/installation). The work will be on display through June 21st with a reception for the artists on Saturday, May 30th from 6:00 until 8:00 p.m.
“After some years involving much travel away from home, I took this past year to be home, reflect and work. This work took me back to my living space, particularly the kitchen table. I count my days through my work. Thoughts of passing days, people, gestures and the often overlooked aspects of daily life have driven my work in a sentimental direction, many in the form of watercolor flower works.
I have always worked both in and out of the context of a traditional artist studio. Because I work from life, when I make a drawing of my kitchen table, I draw at the table; when drawing my view from bed, I draw in bed. “Home” and “studio” are wherever I am. Whether working in solitude, in collaboration with others, in familiar or unfamiliar places, my immediate environment presents opportunities for intimate engagement. The close quarters of domestic space continually fuels my work. For me, any space I occupy is a work space where my life and art can connect and thrive.
Working on paper has been important to my process. It allows me to expand and extend, cut and paste. I often begin with a rectangle, but if the limits of the rectangle cannot contain an image I’m making, I make the work bigger by adding more paper. Through these physical extensions I present fragments of a continuum, a little corner of a big world. When I make the drawings of my apartment, I draw in my apartment, a very confined space. In order to make large works, I fold-up the paper to a manageable working size. When a work is extremely large, I cannot see the whole drawing as I am working. And so, as my works expand, each part of the image is a response to the last thing I drew, almost never a response to the work as a whole. Each perspective in the work is local, almost never an overview. As a result some distortions and surprises ensue, resulting in a highly subjective sense of point of view that still makes some spatial sense. The adding, the folding, the drawing: all are evidence of my physical process, in a way, an expression and document of my movement. In this and in my film-derived work images are fixed, but the vanishing point is always in motion.”
Dawn Clements 2015
“My work recreates the architectural space of the whole or a particular section of the build space according to a subjective perception of this environment.
This non-permanent house-like constructions are made of wood, plywood, metal and sometimes are painted.
Beginning with a room, or part of it, I choose a point within the space to stand and rebuild the room with the perspective deformations that you have only from that point. From there, another room appears, and while it may resemble the original (same number of windows, doors, walls…) it is also quite deformed. Windows are misshapen, walls are skewed, and there may be very few, if any, vertical or horizontal lines. The replicated room feels simultaneously familiar and strange, as it claims an entirely new space.
This installation is based in several images that I have taken from the different homes I live in New York since I arrived from Spain in 1996.”
Isidro Blasco, 2015
Tilted: Photo based Work
Carriage House, Ground Floor
“For the last several years I have been taking photographs from tall buildings in every city that I happen to visit. Taking in the large view of the city with hundreds of photos. And only now I have decided to produce the pieces. Lots of work each one but worth it!”
Isidro Blasco, 2015
Paintings & Drawings
Carriage House. Second Floor
“In these paintings there is an agreement between physical abstraction and the depiction of actual forms. There is a tension between what I am looking at and where the painting is taking me. I am focused on the physicality of the image. Painting allows for a visual definition of a physical thing.
The Common Ground Paintings have as subject minuscule bits of earth and its contents which I enlarge to an iconic scale. In the smaller paintings the solum is depicted at eye level. In the larger paintings and the larger drawings the subject is viewed from above, changing the weight from the bottom of the picture plane to the central area and receding back towards the wall. I am interested in the shift of weight, volume and the point of view.”
Christine Hughes, 2015
Works on Paper
Carriage House. Third Floor
“This show draws from two bodies of my recent work: The Duro Series, a series of gouache paintings on Duro brand paper bags, and a series of collages inspired by grocery store imagery. Both of these explorations utilize paper and repetition as a source to document color in consumer culture.
The paintings on brown paper bags contain lines of color painted in tight succession, changing in tone a little bit each time. As the lines move from top to bottom, they become more obscured and intertwined with each other, leading the eye further into forms of increased resonance. This progression leads you to a new place, but you don’t notice until you look back and see how far you’ve come.
The series of collages contain images from newspaper circulators and grocery store sale posters, evoking memories of rich flavor and saturated color. Advertising and packaging promise a “utopian experience” within their products. The glossy exterior presents itself as trusting and consistent, though the line between what we’re buying and what we’re promised is often blurred. Like the brands I reference, I prefer my collages to be pleasing and attractive but to belie a more questionable content.”
Kristen Rego, 2015
Flower Still Lifes
Carriage House. Fourth Floor
“The work in my series Flower Still Lifes is made primarily in clay and plaster. Usually, I begin building the sculpture in clay and then cast it in plaster. Once in plaster, I continue working on it. I often use the basic forms in sculpture for example, the cylinder, the triangle and the circle, to define what ever image I have in front of me. The interior geometry gives my work the solidity I wish to express and also supports the abstraction I want to attain. I work from set-ups which to me are like small events – a microcosm of life. I want my work to go beyond the literal presence of the objects. Instead of seeing delicate flowers, I see shapes in uncountable variations beautifully deformed and transferred into planes and spaces represented in a solid mass which defies the inherent object itself and gives the finite flowers an infinite quality. I think of my work as three-dimensional poetry conveying and inviting to moments of contemplation and joy.”
Saskia Sutherland, 2015
John Davis Gallery 362 1/2 Warren Street Hudson, New York 12534