Shots from the vernissage opening of PSYCHEDELIC, currently on view until July 2nd.
Experimenting with intensified and distorted sensory perception, Bynum, Simmons, and Laube transform traditional art forms into psychedelic encounters.
Peter Bynum invites viewers to experience a higher form of consciousness, to engage in meditation on the oneness of all living things, and abandon artistic ego to the innate intelligence of paint. Exploiting the inherent branching composition and dendritic forms of pressurized paint, the artist reveals the medium’s affinity to infrastructures present in nature. Corporeal capillaries and floral root systems are recalled with kaleidoscopic intensity in Bynum’s illuminated paintings. Abandoning the restriction of direct light, the artist utilizes the pure white light of flat-panel LEDs to illuminate acrylic through panes of tempered glass. Darkroom exhibition enhances the psychotropic experience of Bynum’s light-infused works.
Opposition dominates the work of Troy Simmons. Inspired by the dissonant relationship between man and nature, the artist explores possibilities for a stable coexistence of opposites. Recalling the emergence of vegetal growth from sidewalk crevices, Simmons’ sculptures juxtapose somber concrete and aluminum against vibrant splashes of acrylic paint. Echoing the artist’s fascination with nature and modern Brutalist Architecture, medium identifies Simmons’ works as contemporary manifestations of the 1960s Arte Povera movement, transforming foundational building materials into vessels of aesthetic creation. Dichotomous concept and medium serve as a physical investigation of what Simmons refers to as ‘incompatible binary relationships’. Deliberate and overt, such opposition knocks viewers off balance, resulting in a psychedelic experience of Simmons’ work.
Transgressing boundaries of traditional painting, Michael Laube unshackles the medium from the confines of space and time. Suspension of acrylic paint within sheets of plexiglass produce fluctuating highlights, reflections, and refractions incapable of absolute localization. The result: disembodied, dematerialized surfaces transformed by light. Inextricably woven into the surrounding space, Laube’s sculptural paintings exist beyond conformity to the definition of pure objectivity, capturing a spatial color effect reminiscent of Barnett Newman and Mark Rothko. Appearing to mutate and diversify, the hallucinogenic quality of Laube’s work encourages viewers to change perspective and experience the work from varying angles.
Presenting a dichotomy of weight and ethereality, the work of Schmitz-Schmelzer and Kränzlein transforms foundational building materials into delicate defiances of gravity. Employing wood and stone, the artists offer an extraordinary translation of cumbersome mass into ethereal buoyancy.
Drawing inspiration from nature and ancient culture’s most elemental forms, Harald Schmitz-Schmelzer’s creations function as a contemporary manifestation of commonalities echoed universally throughout the ages. Through a technique evolved over years of experimentation, pigmented resin is poured in parallel or vertical layers onto a plywood-capped base of raw tropical wood. Marriage of the foundation’s natural variegations to the set resin’s now crystalline surface produces a Minimalist amalgamation of lacquered and matte, transparent and opaque, levity and weight.
Rejecting the common comparison to “3-D color stripes”, the artist cites diversity of chromaticity and translucency in his assertion of each layer’s existence as a sovereign entity. Undulating widths and hues lend a singular vitality to each layer, infinitely distancing Schmitz-Schmelzer’s creations from the monotony of homogenous stripes. In light of such variations, a likening to the sedimentation of geological formations serves as a more appropriate comparison.
The labor intensive process of Dieter Kränzlein belies the clarity and simplicity of his finished work. Carved from metamorphic and sedimentary rock, such as marble and limestone, Kränzlein’s sculptures are characterized by a remarkable lightness, a testament to the artist’s valorous conquest over the medium’s severity. Sourcing stone from steinbruchen (quarries) in the German town of Moos, Kränzlein exploits the material’s natural features by responding to its myriad of inherent imperfections. The result is a dynamic synthesis of organic and geometric forms, some possessing the crystalline delicacy of a snowflake, others the horizontal and vertical geometry of a grid.
Through repetition and variation of carving method, imperfections are transformed into compelling patterns and structures, responsible for granting each work its own unique rhythm. Multifaceted surfaces encourage the viewer to interact with the sculpture from different angles, to perceive new dimensions contingent on one’s position in relation to the work.
Utopia Closing Finissage with a live Jazz performance by Argentine duo Jacinta & Juana!
February 11th, 2016 from 6-8pm
Purely defined, Utopia signifies the idea of an alternate world or reality. Utopia can be an escape, a paradise, or an unobtainable dream in which the world operates in complete harmony. Without the use of visual representation, featured artists share their ability to transform canvas into another realm.
Jürgen Jansen‘s materials and techniques are anything but traditional. While listening to music – often inspiration for artwork titles- Jansen uses cloths, sponges, and even his hands to create these colorful abstractions. A finished work contains up to thirty layers of oil paint and mineral spirits, over which a high-shine resin coating is applied.
Jürgen Jansen lives and works in Dusseldorf, Germany.
I Never Promised You A Rose Garden is Jansen’s first solo show in the United States.
While Dieter Balzer‘s works initially appear colorful and playful, the sculptures possess a geometric precision mirroring that of calculated engineering. Exploring the boundaries between two- and three-dimensionality and positive and negative space, Balzer’s wood and foil creations engage viewers in a dialogue on space and form. Although inspired by a number of various art historical movements, the artist’s primary influence lay in Constructivism and Minimalism.
Dieter Balzer currently lives and works in Berlin, Germany.
Art Southampton the Premier International Modern, Contemporary + Design Fair and marketplace for acquiring the finest works of art available in the Hamptons. The 2015 edition will feature a carefully selected group of 80 international art galleries exhibiting paintings, sculpture, works on paper, photography, video and installation by modern and contemporary artists.
Art Southampton has already cemented its status as the premier contemporary and modern art fair in the Hamptons, offering the highest quality of 20th- and 21st-century masters, as well as, noteworthy emerging artists. The 2015 edition will also incorporate design and the decorative arts. Last year’s VIP Preview benefiting the Parrish Art Museum and Southampton Hospital sponsored by GRAFF Diamonds, Maserati of North America, and Ruinart Champagne set a new standard in luxury presentation and attracted top collectors, cultural leaders and philanthropists of the East End and attendance exceeded the prior years VIP Preview of 4,200 guests throughout the evening. During the course of the five-day fair, a record 21,000 collectors, art enthusiasts, curators and influencers visited the luminous 100,000 square-foot pavilion.
Arte Southampton la Premier Internacional Moderno, Contemporáneo + Feria de Diseño y el mercado para la adquisición de las mejores obras de arte disponibles en los Hamptons. La edición de 2015 contará con un selecto grupo de 80 galerías internacionales de arte que exhiben pinturas, esculturas, obras sobre papel, fotografía, video e instalación de artistas modernos y contemporáneos.
Arte Southampton ya ha cimentado su estatus como la feria de arte moderno y contemporáneo de primera clase en los Hamptons, ofreciendo la más alta calidad de los maestros y 20th- del siglo 21, así como, artistas emergentes notables. La edición 2015 también incorporará el diseño y las artes decorativas. VIP Vista preliminar del año pasado en beneficio del Museo y Southampton Hospital de Parrish Art patrocinado por Graff Diamonds, Maserati de América del Norte, y Ruinart Champagne establece un nuevo estándar en presentación de lujo y atrajo a los mejores coleccionistas, líderes culturales y filántropos del East End y la asistencia superó el prior año VIP Vista previa de 4.200 clientes en toda la noche. Durante el transcurso de la feria de cinco días, un récord de 21.000 coleccionistas, amantes del arte, curadores y personas influyentes visitaron el luminoso pabellón de 100.000 pies cuadrados.
Arte Southampton continuará su apoyo a las organizaciones locales de beneficio cultural y no para prominentes que desempeñan un papel vital en la vida en el East End que han incluido el ya mencionado Museo Parrish Art y el Hospital Southampton, así como, la Escuela Ross, Southampton aire fresco Hogar y renombre internacional ,El Centro Watermill de Robert Wilson.
Únete a nosotros del 9 al 13 de Julio del 2015
A master of traditional of Japanese painting, Hiroomi Ito belongs to a small group of Japanese artists who produce not only their own pigments but the rice paper upon which the artwork is painted on as well.
In his first solo show, Ito examines the schism of the present-day Japanese psyche; refusal to accept one’s cultural heritage; and whether the fusion between traditional and modern has indeed resulted in a loss of “….the pride of being Japanese”.
The first impression of Ito’s work is that of classical painting. The artist employs materials and techniques reminiscent of the style of ancient Japan. Ito’s subject matter, however, is in fact quite contemporary ; the artist looks at modern society’s erosion of the family structure -the backbone of Japanese culture- along with the pride associated with belonging to an old culture.
In his series “Unlimited Desire”, Ito uses symbolism in his compositions. Inspired by European 15th century still life paintings, Ito depicts dishes typically found in Asia, as a reference to both devotional and secular images. The paintings communicate the family head – or “lord of the home”- as an individual who is healthy, wealthy, and possesses the strength to protect the family from ill environmental influences.
The gold represents the wealth of the owner, or “master of the home”. The steam generated by the cooking fire, signifies the passion for life, and the strength to deliver “food on the table” – to provide well for the home. The choice of seafood symbolically demonstrates how the “master” has taste and is well educated, with the ability to make wise choices on behalf of the family.
Born in Japan, Hiroomi Ito now lives and works in Barcelona, Spain.
“Durchbruch”, and Troy Simmons‘ Brutalism Series, explores the destructive relationship man has on nature. The artist stretches the viewer’s imagination in his visual translation of how nature is depicted as an independent entity – a revolutionary force.
Simmons describes his work as an exploration of incompatible binary relationships. He continues to challenge himself by creating unique pieces that expose the stable coexistence of opposites.
Inspired by nature’s persistence to co-exist despite the impact we impose, Simmons’ work is a contemporary re-incarnation of the Arte Povera genre. He uses concrete, color fields and organic forms to express his position on the harmonious existence of different entities.
Troy Simmons was born in Texas and currently lives and works in Miami, FL.