contemporary art

Infinity+1, part 1

Arena 1 gallery, Santa Monica       January 2013

 

 
Mitra Fabian, Debra Greene, Robert Strati and Casey Reas created works that flirt with the idea that infinity can be made tangible. Using tools of science like computer software or invented rules that are based on science but are in fact fake, these artists employed similar processes of repeated patterns to investigate infinite outcomes.
Summer Abstractions

LIMN gallery, San Francisco          July  2009

 

Abstract art is a relatively new visual language with several subsets - color field, biomorphic, geometric to name a few dominant visual categories. Thierry Feuz's lacquer paintings are a radical experimentation with materials. Each is an explosion of life and forms which,from the infinitely far to the infinitely small, comes forth like fireworks. Sid Garrison's pencil drawings are a blend of abstract  elements. He sometimes uses minimal sketches or notes as a way to ignite the drawing, dropping almost all of the geometry. At other times he broadens his palette and employs increased wandering lines - all in an attempt to put into play a dynamic that he calls an "abstract narrative." Kim Squaglia paints with precision and to almost a trompe l’oeil effect. She is interested in perceptual aspects of color in which layering and gradual hue changes create the illusion of space and movement.
Sid Garrison
LIMN gallery,   San Francisco   July  2008

 

Sid Garrison has pushed the boundaries of colored pencil for sometime now and his newest work continues to be inventive. Abstract art, as a visual language, has been around for one hundred years. Considered from the vantage point of art history, it is a young language. In light of this, Garrison still finds rewards in exploration and commitment. His drawings are a collective of marks, overlays and smudges while colors and shapes find comfort with one another. Each drawing starts with an unplanned composition letting one mark lead to another. Using curiosity and an incremental approach of accumulated marks, the artist seeks to discern and strengthen the drawing’s internal balance with gradual permutations of space, depth and suggested movement. 
Debra Greene
LIMN gallery, San Francisco           July  2006

 

Greene defines herself as “an artist using paint” and not as a “painter”. Starting with the simplest representation - a mark out of a tube she uses a ruler and graph paper to build relationships, charts and systems, which she then removes, isolating the results. With different paint for different reactions, she proceeds as though conducting an investigation, to see how far she can push the medium. Numbers become an attribute to a blob of paint, like an ID number to a photograph. The repetitive process is subverted to allow for different outcomes. One piece informs another as she moves from more to less, accident to control, rigid to organic. The viewer is left with visual information but no key to the mathematical problem.
Diane Jacobs
LIMN gallery, San Francisco           July  2008

 

Diane Jacobs contextualizes her work by using word puns, text with dual meaning, and derogatory language as a catalyst to reveal old and new ways of thinking. She is fascinated by the allure of shadows and the interplay between illusion and heightened consciousness. In much of her work she uses reflective materials to alter perception, scrutinize information, and bring the viewer into the dialog.
Cathy Stone
LIMN gallery, San Francisco          February 2009

 

For the past twenty years, Cathy Stone has been pursuing both drawing and sculpture , marrying two movements -- Arte Povera and Urushi. Her black and white drawings, inspired by personal losses, are an attempt to understand life and death. Stone uses her art to answer her own personal investigations in pursuit of understanding the physicality of emotions and their resolution. Her very large drawings (up to 9 feet by 7 feet) present an enormous challenge, in which she must juggle gravity. Giant pools of black acrylic paint or charcoal float onto the paper, while suspended delicate lines climb upward, defying all laws of physics.
Jil Weinstock
LIMN gallery, San Francisco           June  2009

 

Since the early nineties, Jil Weinstock has chosen rubber as the medium to which she at times has added garments, zippers, pins, or pearls. Rubber is an irresistible medium for Weinstock to work with as it can take many different qualities. Over the years the artist has discovered that different treatments affect the final result. Use it as a cast and it becomes ghostly. When an object is fully encased as an object, it takes on the role of preservative. Her three dimensional sculptures become wall pieces and when she places them on the floor, they pay tribute to Carl Andre. 
Joan Moment
LIMN gallery, San Francisco           June  2009

 

Moment's work examines issues of mortality, transcendence, change and flux. In the past 15 years her work has emphasized, “imprint” as a method for making paintings, and has now evolved into a form that relates to current practices that critics Peter Frank and George Melrod, writing in Art Ltd., dubbed “Flow Painting”. Moment works with thin paint on large tables, pouring the paint, dragging it, dissolving it and allowing it to clot, collect and disperse into forms that recall cosmic gases, bodies of water and terrestrial forms seen from the air.  Intermittent Mapping was part of Moment's Constellation Series series referencing  planets, cells, comets, atoms, stars, and earth and ocean surfaces. 

Thierry Feuz
LIMN gallery, San Francisco           December  2007

 

Swiss artist Thierry Feuz’s lacquer paintings are first a radical experimentation with materials. The subjects represented in his paintings are primarily justified by the possibilities they offer him in terms of pictorial potential. Indeed, there are no specific guidelines, over than a constant fragile equilibrium of forms and colors, light and darkness which could, at any moment, be destroyed. Once Feuz has reached a momentum with the mixed mediums, these paintings are synonymous of a world of wonderful yet scary meanderings with neither time nor spatial limits. A diffused and gloomy light bathes this uncertain world of sprouting flowers, genetic experiments and magical mutations. It’s an explosion of life and forms which, from the infinitely far to the infinitely small, comes forth like fireworks.