The Breaking Point: Documentary as Thriller

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With The Breaking Point, three-time U.S. academy award-winning documentary director Mark Jonathan Harris teams with Ukrainian director Oles Sanin for this American-Ukrainian production, a thoroughly compelling thriller of a documentary about the War for Democracy in the Ukraine. Sanin directed the Ukraine’s official entry for the 2014 Academy Awards for Best Foreign Language Film. 

Together, the directors have created powerful tension which builds exponentially throughout the film,  as they examine a country transformed by a democratic revolution. The multiple protagonists, who have given up their lives to fight a Russian invasion, are each provocative storytellers, bringing their personal experiences to the insightful analysis of a war that has killed over 10,000 people and displaced 1.9 million Ukrainians.

It’s a harrowing story, and Harris, known for carefully culling those he casts, has shaped a taut tale.

Essentially, Breaking Point examines revolution and war on an intimate, personal level. And, it offers a potent warning against allowing foreign powers into the election process and the press — a warning that should resonate strongly with viewers in the U.S. as Russian interference into our own election continues to be investigated.

Breaking Point begins with a poetic voice-over on a foggy road, as one of the film’s subjects, discusses his belief that “beauty, art, and love” will save the world. But these beliefs have been put the ultimate test. He notes that when “they started killing people – it was the breaking point, when people realized helping from a distance was not enough anymore.” From a look at a bleak and bombed out airport still under attack, the film neatly sequees back to 2013, when a social media post drew huge crowds to Maiden Square in the nation’s capital, Kiev, to protest the Ukrainian president’s refusal to allow the country to join the EU.

With tense and compelling editing and the juxtaposition of a variety of stories, the film describes how the protestors “lost the fear of death,” and takes a long hard look at the “most blatant land grab” for the Ukraine’s territory by Russia’s Vladimir Putin, and how the revolution against Russia’s interference led to the formation of a people’s army.

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Above, Mark Jonathan Harris

Harris and Sanin expertly weave stories such as that of an investigative reporter run off the road and beaten by thugs affiliated with the Ukrainian government, with that of resistance leaders, and political scholars.

The shocking recognition of Russian influence in the media, as well as the government itself, should strike a familiar chord for viewers – the phrase “fake news”  is all too real in the Ukraine. From photoshopped images spreading lies about protesters to paid actors portraying pro-Russian Ukrainian citizens, the manipulation is chilling and well-orchestrated. In describing the Russian propaganda machine, the point is made that “Russians understand western media better than western media does. They understand the short attention span… the flood of events.”

In short, Breaking Point offers an entirely relatable story, a tribute to the spirit of the Ukrainian people and their belief that they could win their fight and recover.

With subjects narrating their stories in an interwoven quilt of first-person events, this harrowing look at the Ukraine is both raw and real.  Viewers will find themselves on the edge of their seats, as the events that began with a protest on The Maiden unfold.

The underlying message of the film could not be more timely, that the future of European democracy, and perhaps of democracy itself demands that Russia stop undermining the west. In the Ukraine, ordinary citizens took on those demands; in today’s U.S. political climate, the film is a must-see.

  • Genie Davis; photos provided by filmmakers

 

 

Four Times the Art at Gabba Gallery

Now through January 27th at Gabba Gallery, four strong solo shows in a range of mediums offer a bold beginning to the new year.
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With Give and Take, Cyrus Howlett offers a bright, vivid palette of red, yellow, and aqua against raw and uncoated wood. His images are of hands.
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Powerful, graceful hands are enigmatically suspended in an undefined space, offering images that have overtones of AI and VR and reveal the potential for understanding through gesture.
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With Evolution, Dytch66’s lush, hyper-realistic style is a beautiful outgrowth of his street art. The LA-based artist uses spray paint to create these detailed images, shaping resonant, graceful works with amazing precision.
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Above, Dytch66’s “The King.”
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Spacegoth creates a world here inhabited by playful devils and those humans who have left this mortal plane. There is a sense of the ominous and the playful coexisting side by side in these works, which at times feature words as well as images. In short, she’s filling The Void. 
Some images emerge from that void with a delightful sharp touch of the whimsical, as below, with “Nobody.”
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Other images, such as the above “I Spent a lot of time in the background,” have a darker resonance.
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With ARTSTAR, Kate Kelton uses acrylics on found and assembled woods, in an exploration of immortality and stardom.
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Her gorgeous black and white works have a throwback quality, as if they were created in another time or another realm. Beautifully evocative, her work is both romantic and fully alive, a celebration of the past and the promise of eternity.

The uniqueness of each artist’s work gives Gabba a strong start to 2018, with four fully-realized solo shows all in one fun space.

  • Genie Davis; photos provided by Gabba Gallery

Escape from the Usual Scene at Scapes

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Now at the new gallery and event space Unita in El Segundo through January 27th, the beautiful work of stellar photographers offers an eye-opening view into a fresh new world of landscape images.

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SCAPES, curated by Hayley Marie Colston and Moshe Levis from NOTINDOOR Photography magazine, features the work of photographic artists Ryan Meichtry, Diane Cockerill, Osceola Refetoff, and Chris Pelonis along with additional works from NOTINDOOR contributors.

Each photographers work is unique as to approach and subject matter.

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Refetoff’s Desertscapes curation is haunting and poignant, raw and vivid; his images of clouds, sky, and road pull the viewer into travels of their own. A series of photographs taken over the wing of airplanes is both transcendent and triumphant.

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Cockerill offers rich Cityscapes, with urban skylines, intimate views of architecture, street scenes – a collection that gives viewers a fresh, loving, and visceral look at Los Angeles that is both sophisticated and warm.

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Pelonis’ rich and varied Landscapes takes viewers intimately on an international journey; Meichtry’s Seascapes are wild and evocative, revealing the sinuous curves of awe-inspiring waves and sleek water. Meichtry’s short film, The Perilous Sea, which screened at the opening of the show, offered intense views of surfing off the coasts of Nova Scotia, the Hebrides, and Ireland.

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At the closing reception, planned for January 27th from 6 to 11 p.m., an additional exhibition will include the work of both curators inside Colston’s Gypsy Trails Gallery, a portable space to be parked behind Unita.

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Colston explains that she has been invited by Unita to be a resident curator. “As an artist, I find curating to be an additional and different outlet.  Photography allows me to capture life’s passing moments and painting, to capture the passing thoughts in my mind. Curating a show is a newer form of art for me and I’m enjoying the process of connecting or colliding the themes of different artists’ works.”

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Choosing a photographic exhibit for her opening salvo at Unita was an easy choice. “I wanted to do a photography show to reconnect to where I started as an artist, and the photographers selected consistently inspire me. Each photographer selected for the show has their own style and concentrated theme, so I wanted to find a way to tell a story through them.”

Colston describes that story as “… the evolution of scenery. Starting with pristine landscapes to humanity’s play with the world. I wanted a look at the harmony, growth and desertion of people and their environments. Landscapes without people, seascapes and how people interact and have to go with flow of the mighty oceans,” she relates. “I decided to include the Perilous Sea surf film to really emphasize this. I also wanted to include Cityscapes and how people have created their own scenes, and  Desertscapes to show the desertion of people and the lasting effects of their presence to the original landscapes.”

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The wide-ranging exhibition offers ample space for each of the artists to present their work, and to draw viewers into a “whole new world.” Now that’s an escape, or SCAPES as the case may be.

Unita is located at 215 Arena St. in El Segundo.

Continuum is Just Getting Started: Monica Wyatt at MOAH Opens this Weekend

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Artist Monica Wyatt’s Continuum is a beautiful, dream-like show opening at MOAH: Cedar this Saturday. The exhibition, which runs through March 3rd, was curated by Jill Moniz. Wyatt calls Moniz an inspiring collaborator; much of the work here has been created specifically for the installation or never before exhibited.

“Jill encouraged me to be expansive and bold in my creating, all the while furthering the visual dialogue about lifecycles, sustainability, new beginnings,” Wyatt asserts. “Continuum is definitely an outgrowth of my previous work. One of the three spaces I’m using at MOAH: Cedar contains my first big site-specific installation.  I knew I wanted to push myself to work large scale and the making of this installation, called When Shadows Chase the Light ,was both thrilling and terrifying.  I’ve been creating it in segments over the last five months and never saw it as a whole until yesterday.  And it took seven of us to install,” she exclaims.

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When Shadows Chase the Light contains 4000 acrylic globes, 10,000 nylon hairnets, 23 industrial light lenses, fishing wire and lighting, all manmade materials that “look like a huge and mesmerizing organic, biomorphic form,” according to Wyatt. “By using synthetic materials to represent the organic, I’m trying to represent the increasingly complex interconnections that bind people to nature and technology.”

Moniz calls Wyatt “an artistic alchemist, collecting materials and turning them into precious objects. In this process, she fuses the history of disparate materials to create new beginnings, representing the cyclic nature of all things.”

Terming Continuum Wyatt’s three-dimensional expression of love, death and creativity, Moniz notes that Wyatt pursues themes and compositions that  encompass her passion for her materials and the ways in which she infuses them with life and meaning.

Reworking materials, disassembling, and reimagining them, Wyatt uses both organic and manmade materials, creating a unique vision that connects man and nature.

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“A couple years ago, I made a series of wood and rock assemblages called San Andreas Variations. With the indispensable help of Ron Therrio, I created five larger scale wood and granite rock sculptures that I’ll be unveiling, too,” Wyatt attests. 

She adds “A lot of my newer work has become more sculptural, no longer rooted in a box. Working towards this show has given me the space and mindset to play more purposefully with volume and large scale composition.  It’s not so much exploring the history of the objects in a different way, but visually expanding on themes that interest me such as the daily markers of family, nature, and life cycles.” Inspired by her father, a physicist-inventor, Wyatt strives to bring her imagination to life, reshaping different materials to create a piece with its own fresh identity.

“I’m using organ and piano pieces, marbles, beads, nails, wire, crystal orbs, acrylic globes, nylon hairnets, wood, and so much more.  I’m also transforming tens of thousands of capacitors into sculpture.  I’ve never worked before this show with acrylic globes and nylon hairnets, so that’s been an engrossing and fascinating challenge.”

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Wyatt says “My assemblage is embedded with not only the histories of the materials, but also my own stories, and those of the viewer. I think my love for materials is the poetic element that’s apparent in my work. When the fragments and small bits come together as a seamless whole, there’s a sort of magic that happens and the piece becomes something more than the sum of its parts.”

Wyatt has a background as an English major, and her love of words is especially evident in the title of her works. “I never title a piece until it’s finished and really labor over finding a title that works.  And if I don’t mess it up too badly, a poetic object is matched with a fitting title.”

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As to the title of the exhibition, Continuum is a perfect fit: according to the Cambridge dictionary, it is something that changes gradually in character or in slight stages without clear points of division. For Wyatt, mere objects become something magical, even mythical — art.

  • Genie Davis; photos provided by the artist

 

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