Sway Moves Us: Exciting Exhibition from Seven Artists at the Brand

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Curated by Chenhung Chen with project management from Linda Sue Price, Sway, at the Brand Library and Art Center, is an exciting exhibition that is both perfectly curated and filled with stunningly original art work in a variety of mediums.

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One of the most beautiful aspects of the exhibition is Chen’s astonishing ability to create a show in which the works seem to truly speak to each other; they are linked and separate at the same time, a cohesive presentation that pulls viewers into the experience of the exhibition.

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Each of the seven participating artists use a variety of materials including wire, cords, neon, plastic, found materials, graphite works, and acrylic and pencil. Primarily sculptural, the dimensionality of the works adds the to sense that the exhibition is a living, mutating form that swims with motion – or shall we say, sways with it. If this is a world of art – and it is – it’s a new world, composed of lines and light, intense color, grand patterns, and highly tactile images.

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Chen’s flowing,  often delicate wire copper wire crochet work constrasts and compliments her thicker wire abstract sculputures. Both styles of her work undulate, as if they were strange sea creatures, or alien life forms.

That sense of the alien and unexpected, of sea life and forest floor, permeates the exhibition and the viewers’ gaze. We are invited to experience something unique, alive, delicate materials made strong and connected.

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Snezana Saraswati Petrovic’s work here includes a room-sized installation that utilizes video images as well as delicate, lace-like plastic to immerse viewers in an a dive deep into a sea of art.

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Other works of Petrovic’s pulse in fierce orange or yellow, and again we seem to be a part of a world of mysterious alien shapes, puzzling and vibrant, highly textured and dream-like.

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She gives us starfish and stars, sea nettles and dimensional snowflakes, webs, fissures, and the illusion of plunging beyond or into our own consciousness.

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Price’s neon works throb with kinetic energy and motion, the colors seem impossibly vibrant, they are as vivid and visceral as light pulled from the center of the earth and straight through the soul.

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Pieces that literally move and those whose colors dance create a sense of nighttime magic, a glorious lit-up world that is both transcendent and emersed in noir.

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Speaking of light, Echo Lew creates drawings based on light and shadow, strange and ethereal, as rhythmic as if they had sound.

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His unusual process in creating these drawings from something as ephemeral as light itself is reminiscent of auras, ghostly presences, a spirit world.

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Both Debbie Carlson and Gina Herrera work with found materials that include articles as diverse as ladders and yarn and bottle caps and latex gloves.

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Herrera in particular creates works that are infused with a sense of humor and wit, fantastical and fairy-tale-like. She creates both creatures and abstract shapes out of what could be artistic detritus in less gifted hands.

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Carlson’s sculptural works link prosaic articles and repurpose them into something sublime, strange, and cooly geometric.

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The eye studies the lines that make the shapes that fuse recognizable objects into something far more interesting and rich.

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Anne Marie Rousseau exhibits a series of painted acrylic images, both sharp, modern, and shiny with color; lines of gold dance and opal-like paint shimmers within the works like the veins of rich minerals found within the earth.

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The large scale works seem to vibrate; located on the outside wall of the main galleries, they serve as a kind of introduction or portal into another realm. Her work is always filled with a sense of motion, here, the pieces are perhaps the most literal and lyrical interpretation of the show’s title.

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It perhaps goes without saying that the works here are each magical, they invoke and call out a sensual beauty, a reworking of line, shape, form, and texture that upends the expected and presents a new and intensely satisfying view of the world.

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Above, curator Chen, attendee Betty Brown, artist Petrovic

Sway is an exhibition to be savored – go take it in. The Brand Library and Art Center is located in Glendale – or perhaps, with this show, in another universe entirely. The exhibition runs through June 14th.

  • Genie Davis; photos: Genie Davis

 

 

 

 

2019 COLA Individual Artist Fellowships Exhibition Opening at Los Angeles Municipal Art Gallery

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Above, COLA fellow Sabrina Gschwandtner

The City of Los Angeles Department of Cultural Affairs is presenting the 2019 COLA (City of Los Angeles) individual artist fellowships exhibition at the Los Angeles Municipal art gallery. The fellowships Honoring the City’s Creative Spirit show will have its opening reception this Sunday, May 19th,  from 2 to 5 p.m. The exhibition will run through July 14th.

The COLA Fellowships are awarded annually to Los Angeles-based exemplary mid-career artists, each of whom receive $10,000 grants. They’re chosen following three review rounds by peer panelists who’ve served as curators, educators, non-profit gallerists, museum directors, or past COLA Fellows.  

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Above work by Aleida Rodríguez

This year’s winners in design and visual arts include Juan Capistrán, Enrique Castrejon, Kim Fisher, Katie Grinnan, Sabrina Gschwandtner, Alice Könitz, and Olga Koumoundouros. In the literary and performing arts, winners include Suzanne Lummis, Aleida Rodríguez,  Sandy Rodriguez, Stephanie Taylor, Peter Wu,  Jenny Yurshansky, and Dwight Trible for performing art.

Juan Capistrán's Psychogeography Of Rage (the riot inside me raged on)

Viewers will find the personal and even autobiographical in these works, with Capistran focusing on depictions of the neighborhood in which he grew up: his Psychogeography of Rage photography series documents guerilla-style, temporary installations throughout South Central LA (above.) Born in Guadalajara, Mexico, Capistran utilizes poetic transdisciplinary forms to question socio-political ideology. 

Koumoundouros reimagines her own life through the life cycle of a flying fish, offering narrative mixed media work that seeks to combine “the flow of energy and earthly bound materal resources.”

Yurshansky offers an installation that tracks the matrimonial links of her family; while Castrejon’s works touch on his career as a West Hollywood HIV counselor. The Los Angeles-based artist creates detailed and carefully measured collage drawings exhibited both nationally and internationally.

Könitz offers a temporary modular structure for the exhibition that evokes our primal need for shelter. Her functional, beautifully designed work includes shutters, closed every evening when the gallery closes.

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The German-born, LA-based artist founded Los Angeles Museum of Art (LAMOA). LAMOA was featured in the Hammer Museum’s Made in L.A. 2014, and received the Mohn Award. An image from LAMOA is depicted above.

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Lincoln Heights-based Kim Fisher, above, has exhibited internationally; here her Los Angeles Hedge presents a dramatically-scaled hedge overlaid with flat planes of color and everyday ephemera.

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Grinnan, who will offer a musically performed intrepretation of her wooden EEG-based sculptures  at the reception (above), is a UCLA-graduate who has had solo exhibitions at The Whitney Museum of American Art at Altria, the Hammer Museum, and most recently at Commonwealth and Council.

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Gschwandtner (work above) has created large-scale public arts commissions in New York City and presently resides in Echo Park. 

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Originally from San Diego, independent artist and educator Rodriguez’ most recent work (above) includes the Codex Rodriguez-Mondragón, a series of maps and paintings about the intersections of politics, history, and culture.

Taylor is a sound and visual artist based in LA who exhibits her work internationally. The Ontario-born Wu creates decidedly vibrant works. Yurshansky’s artist book was published by Pitzer College Art Galleries.

As a leading progressive arts and cultural agency, the DCA provides support and access to Los Angeles’s vibrant communities through quality visual, literary, musical, performing, and educational arts programming. 

At the reception,  as noted, Grinnan will present a performance of her work 5 Seconds of Dreaming, with musicians Kozue Matsumoto and Eugene Moon. Her wooden sculptures are based upon diagrams of her brain activity during sleep. The highly tactile works have been stringed to create instruments  the musicians will play, offering their interpretation of her visual work in musical form.

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The Los Angeles Municipal Art Gallery is located at 4800 Hollywood Boulevard in Barnsdall Park, from May 23 through July 14, 2019 with an opening reception on May 19 from 2:00 p.m. to 5:00 p.m. The COLA Performance and Literary Presentation will take place on June 1, 2019 at Grand Performances in the Spiral Court at 300 South Grand Avenue, Los Angeles, CA 90071. 

  • Genie Davis; photos provided by COLA

Looking Ahead: Jeffrey Sklan Offers a Beautiful ELEGY

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Images of great beauty and poignancy are photographic artist Jeffrey Sklan’s call to action against violence and mass shootings. With ELEGY, he offers a visually stunning exhibition focused on botanical images. This radiant and transformative collection is his way of paying tribute to lives lost in mass killings and murders; but viewers unaware of the context will experience elegant, perfect images of flowers with a rich and deep color palette.

Opening Saturday, June 22nd at the Kopeikin Gallery in Los Angeles, Sklan’s inspiring works expand the boundaries of photographic still life with lush and evocative depictions of natural beauty. In each image, he draws viewers into the singular world that his artwork represents.

First on view at Photo LA in January, the series draws from the solace he finds in the beauty of lilies, as well as the poignant reality of their all-too-short existence, and traditional use in memorials for the departed.

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Sadly, several new images have been created since his debut exhibition, including those dedicated to Parkland student Sydney Aiello, Nipsey Hussle, celebrants of both Easter in Sri Lanka, and Passover in Poway, California.

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Sklan transforms and translates natural forms in a moving collaborative dance between the perfect beauty of flowers and their fragility; their loveliness serving as an evocative rumination on the briefness of our blossoming on earth, and how quickly that beauty can be lost.

The initial image in this body of work, “Lily for Orlando,” was “literally created as the crime scene from the Pulse Nightclub was playing out. A black lily on green background resulted. It was June 2016 and there was no intention of it being anything but a one-off,” Sklan explains. But in July of 2016, 87 people were killed celebrating Bastille Day in Nice. “The enormity of it resulted in another image. And that was that – a project took form,” he relates.

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There is a strong spiritual component to his work that seems to emanate from within it – a ribbon of light, a moment of solitude, the sense of longing for connection – to life, to beauty, to being.

He describes his most successful images as capturing emotional content sparking a visceral reaction, and reflecting what the artist was feeling or thinking, as the shutter released. “I am seeking to memorialize the essence of what is before me.”

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His resonant color palette originated with his admiration for artists such as Velasquez, Rembrandt, Titian, and Caravaggio. This inspiration seems to infuse his work with a classic, grand beauty, as Sklan creates depths to his work filled with an inner light.

These graceful, precise images serve as an ultimate homage to those who have been taken prematurely.

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The exhibition was designed as a traveling show, and Sklan hopes ELEGY will find new venues for future exhibitions. To defray the shipping and installation costs, limited edition fine art prints are for sale so that “even more people can view it, and, ideally, be inspired to remedy the wrongs they perceive in the communities where they live.” He notes “The message is simple: we are each, in our own way and according to our capacity, capable of affecting change.

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Subtle and somber visions of fragile, exquisite loveliness, the artist’s images compel us to appreciate the transitory beauty of our world and our lives.

In short, Sklan has captured beauty in mourning, and offers an affirmation of life, even after that life itself has slipped away.

Experience his ELEGY June 22-27 at Kopeikin Gallery, 2766 La Cienega Blvd. in Los Angeles.

Waves of Light: Justine Serebrin

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Justine Serebrin’s art is awash in light. Her work exudes light as a transformative feature, it glows inwardly and surges outwardly with a brightness of color as she creates images that evoke sunbeams, reflective water, and glass prisms casting rainbows.

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Working in spray paint and thickly textured swirls of water-based oil, Serebrin’s images dance with a mystical quality and draw viewers to her use of sacred geometry. While her paintings are narrative and distinctly of the sea, they are also spiritual, as she strives to draw viewers into a realm beyond or within our own intellectual comprehension. Many of her pieces include what the artist identifies as “towers of magic” that seem suspended in a lustrously dream-like state.

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Perhaps the dreamy serendipity infused in her work is no surprise. Serebrin begins her work with meditation, visualisation, and then a strong formulation of the images; many paintings seem to unfold as if in a visual trance. They seem tidal, flowing visually and inhabited with shapes that evoke comparisions to flowers and sea creatures, floating in the water of imagination.  Some of her works’ inner glow is through her use of startling, shifting colors. Like an ocean wave or a gemstone changeable in light, the works are multi-faceted and the palette shifts in a dance of water spray.

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Serebrin herself speaks of the “high vibrational energies” in her work; many pieces she says are created as “portals for meditation.” The invitation to visually enter a higher spiritual realm or meditative plane seems deeply personal both to artist and viewer. There’s a strong sense of engagement, as if Serebrin were personaly invivting viewers to set an intention, to use their own powers for beauty and a richer, more fulfilled life from within.

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Along with her paintings, Serebrin has also created what she terms a “portable support for divine guidance” in a richly visual Rainbow Warrior Activation Deck that helps users to process their spiritual energy; she is also the force and founder of Earth Altar Studio, where clients can receive tattoos, piercing, and lasers.

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Serebrin promises that Earth Altar’s work will bring an enhanced physical and spiritual self to the fore. The Eagle Rock studio invokes the idea of tattooing as an ancient spiritual process; Serebrin can channel a unique design symbolizing what a person wants to call into their lives.  With that in mind, Serebrin also offers supportive information from researchers, spiritual teachers, healers, and others through her Higher Vibe Living, presenting content that she feels will assist one’s state of well-being and improve daily life.

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In each of these endeavors and embedded in her artwork is the idea that Serebrin is not “only” an artist, but a transformative conduit of healing and spirituality. Her ocean images are related to her early SoCal years spend snorkling, when she first noticed troubling debris and decaying marine life on the shore. ​Seeking to honor what she calls the ocean’s “deep power” and supporting ocean awareness and stewardship are important aspects of her art. Having traveled the globe experiencing various beaches and seas, Serebrin incorporates sea creatures, water patterns and waves into her work.

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In her recent body of work, The Sacred Sea, she focused on raising the awareness of our oceans and their fragility, as well as the risk posed to them. The artist has exhibited in museums from Louisiana to Texas as well as holding exhibitions in the Los Angeles area. 

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Among the standouts in her recent work are pieces such as “Sacred Sea City,” with pearly bubbles rising against a backdrop of a magical, open-shell shape; and “Ocean Oracle,” a painting the vibrates with purples and deep pinks with a golden heart opening like a gift at the center of the work.

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Her images are both realistic and detailed, and yet amorphous in nature, taking viewers into uncharted spiritual waters filled with heightened color and light. Portal images create entrances into alternate realities as in “Lemuria Recativated,” below.

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Serebrin gives new meaning to the term “enlightened artist” with graceful work that both reveals her own personal levels of enlightenment and growth, and offers a look at the potential for an enlightened world to viewers.

  • Genie Davis; images courtesy of the artist and Shoebox PR.