FRESH! 2018 “ORDER AND CHAOS: THE WORLD OF THE ENLIGHTENED”

The annual summer group show FRESH! returns to JanKossen Contemporary, featuring works by 13 artists under the curatorial vision of “Order and Chaos: the World of the Enlightened”.

Artists have always played a role in voicing how the world is seen; they are critics disecting the concepts aesthetics, ideals of beauty, rationalism, tolerance and liberty. How do our artists see the world today? And what can we learn from their viewpoints ?

Artists were invited to explore and present their world viewpoints; to re-interpret what is considered truth (or not)and the realities around us. A diverse group of international emerging and established artists were selected, offering the viewers a range of distinct methods, media, materials and techniques.

Selected artists include Atsuko Chirikjian (USA), Eva Breitfuß (DE), Jarek Puczel (PL), Julie Rotblatt (USA), Leonid Filitsyan (USA), Matthew Mogle (USA),Michael Gatzke (DE), Michele Utley- Voigt (USA), Ryan Burns (USA), Soojin Choi (USA), Vanessa Kocking (USA), Ahron Weiner (USA), Mariela Lechin (USA)  and Trey Abdella(USA).

Abstraction has a strong presence in this show. Artists Vanessa Kocking, Eva Breitfuß, Julie Rotblatt, Mariela Lechin and Ryan Burns use various media to create landscapes and explore both espiritual and physical elements of the today’s world. While Kocking creates an alternative space to reality building silent landscapes and characters emerging from experience, fantasy and an eternal existential pursuit; Breitfuß’ central concern is to understand, explore, transform and transport realities and energies of time, space and nature through art. While Burns’ artistic practice investigates society’s relationship with the natural world and climate change; Rotblatt works with various media with the aim to explore multiple dimensions of both the spiritual and physical withing the mind-body connection. In a world that constantly attempts to choose between extremes, Lechin paintings reflect the idea that contradictions coexist harmoniously as one.

Artists Leonid Filitsyan, Michele Utley- Voigt, Matthew Mogle explore the human condition in relation to personal experiences, emotion, fate and form. Utley- Voigt’s powerful paintings is a visulisation of our complex sense of self, which she translates into a claidascope using complex and intelligent technique of multiple layerered imagery. Mogle romanticizes narratives of the past, fused with his cynical and melancholic views of the present to explore the effects of chronic Lyme disease on the artist´s body. By contrast, the sculptor Leonid Filitsyan transforms and reforms what is given as the human form offering a new perspective of interpretation.

Jarek Puczel and Sooji Choi introduce a strong psychological component in their artwork creating ambiguous moments of dimensional perception. Puczel has a emotional but calming style reduced in shaped in color. Choi plays with the true character of objects, exploring its instability, its errors, or by being dismantled.

As artists of the 21st century Mitchel Gatzke,  Ahron Weiner and Trey Abdella analise society current issues. Using a monochromatic palette, the viewer is invited to participate in Gatzke’s atmospheric scenes; while Weiner uses newspaper and journalistic media as a medium to reflect and open a window into our collective consciousness. Conjoining relism and cartoons, Abdella creates cohesive scenes where cartoons are real and reality is distorted; offering us both an amusing yet disturbing interpretation of what is ailing in our society today.

Paying homage to cultural heritage, Atsuko Chirikjian works are steeped in tradition with a background working in materials. A canvas is for Chirikjian a three-dimensional construct; building her own canvas through the layering materials such as thread, wire, net, bamboo, twigs, and cheesecloth.

MONOCHROME

Monochrome, a curated group exhibition showcasing selected artists from JanKossen Contemporary’s international program, will be on view from May 31 – July 14, 2018 with an opening reception from 6-8pm on May 31, 2018. The exhibition will feature artworks by Troy Simmons (USA), Dieter Kränzlein (Germany), Antonio Marra (Italy), Park Byung-Hoon (South Korean/France), Alex Rane (USA/Italy), Hannah Quinlivan (Australia), and Ye Jin-Young (South Korea) which explore the concept of monochromatic abstract art. An online catalogue will accompany the exhibition.TroySimmons_Evolve_2016_JanKossen

Troy Simmons. Evolve, 2016. Concrete, aluminum, acrylic. 60x36x18 inchesMonochromatic art has expanded since its inception in the early 20th century painting. The exploration of value and tonal changes are used to convey a wide variety of emotions and meaning today. Beginning in Moscow with Russian Suprematist artist Kazimir Malevich with his Black Square on a White Field (1915), monochromatic art works have seen a rapid growth, particularly in New York with the likes of abstract expressionists such as Ad Reinhardt in the 50s, to minimalism with artists such as Agnes Martin and Frank Stella in the 60s. Monochrome continues this tradition and pushes the boundaries of not only the physical materials used, but the range of emotions that they are able to express.

HannahQuinlivan_It started with a spark, 2017. 35x46x7in_88x116x18cm. LED light and anodised aluminium.

Hannah Quinlivan. It Started with a Spark, 2017. LED light and anodized aluminum. 60x36x18 inches

The abstraction of form, however, does not equal a simplification of thought. By removing the chromatic range of an object, the artist encourages the viewer to fully absorb the subtle nuances in surface texture and shade, as seen in Troy Simmons’ mixed media works, as well as Alex Rane and Dieter Kränzlein’s marble sculptures. Even comparing two monochromatic abstracted sculptures, the viewer is presented with two radically different works, from the geometric abstractions of Kränzlein to the surreal abstracted figures of Alex Rane. Without the distraction of colors, viewers are also able to see the subtle surface quality as well as the artists’ application and control of materials. Although nostalgic of Frank Stella’s vibrantly colored geometric works, Antonio Marra further enhances the experience of abstraction by injecting a shock of unexpected color in an otherwise monochromatic piece.

Black and white are not true colors, but shades meant to distinguish tonal value. Traditionally these shades were made by using paint. However, even this aspect is expanded in “Monochrome” group show. Instead of mixing paints, Hannah Quinlivan employs LEDs to create shades generating through the interaction between lights and shadows. Troy Simmons and Ye Jin-young put a stronger emphasis on what can be seen from the expressive, energetic shapes to the delicate, hand-pulled clay petals.

For press inquiries or general information, please contact the gallery office at admin@jankossen.com or call at 631-903-5564.

Whispering Tranquility: Minimalist Seascape by Kim Yeong-Jea

April 3, 2018 (New York, NY) – JanKossen Contemporary is pleased to present Whispering Tranquility, a solo exhibition by South Korean photographer Kim Yeong- Jea. This exhibition will herald JanKossen Contemporary’s new exploration into photography as well as digital media. The show will be on view from April 26 – May 26, 2018 with an opening reception from 6-8pm on April 26.

Unlike Hiroshi Sugimoto who dignifies the sea as an integrate, transcendental being through a distant, primitive eye, Kim Yeong-Jea roams at the interface of evolving humanity and eternal nature. At the age of sixty-seven, Kim left home and traveled over a hundred times on the seventh national highway along the east coast of South Korea. Through the camera, Kim turns the seashore into an intimate shrine where he meditates tranquility by compressing numerous busy, ephemeral life moments into one large format image.

Tides smooth sharp edges of stones; waves crash on reefs. The seashore seems often associated with tension. However, by applying long-exposure technique, Kim Yeong-Jea transforms the dynamic sea waves into airy, pervading flows. Layers of overlapping moments resemble the accumulation of memory, which eventually reach a calm, introspective status. The sea is no longer a powerful, solemn alien indifferent to human beings, but an embodiment of mind. In Kim’s works, the sea became a metaphor of spiritual placidity which gradually emerges out of endless, energetic flows. Every single struggle adds weight and meaning to one’s life and leads the person to approach inner peace.

Kim Yeongjea_Typhoon_2013

Kim Yeong-Jea. Typhoon, 2013. Edition 1/3, photograph on Hahnamühle paper, 91 x 32 inches.

Kim’s seascape is an extending tunnel to a world where one could share the quiet, slow spiritual progress with the artist. The boundary between the sea and sky in Kim’s works is gently blurred and blended through over-exposure. The depth of field is flattened, which brings the primary focus to the repetitive geometric forms of fishery and reefs in the foreground. The subtle variation of lines and blocks triggers lively whispers in the environment, gradually soothing viewers’ mind. As going further to the vanish point, one immerses him or herself into the misty, vast negative space of the flowing sea and empty sky. In this melting, serene visual journey, one may start wondering like Kim Yeong-Jea did before: are our memory and life experience becoming hazy or sublimating into something else like the serene nature?

Kim Yeongjea_Early morming mist 2 2017_20M.jpg

Kim Yeong-Jea. Early Morning Mist 2, 2017. Edition 1/3, photograph on Hahnamühle paper, 52 x 32 inches.

About Kim Yeong-Jea

With thirty-seven-year experience in mastering camera, Kim Yeong-Jea has been experimenting with landscape photography. Kim began his fine art photography practices in the 1990s. His works have been included in major Korean and international exhibitions, such as Jangteo Photo Show at Sejong Center, International Photo Festival in Seoul, South Korea, and the 57th Venice Biennale. Kim is a member of The Photo Artist Society of Korea. He currently lives and works near Seoul, South Korea.

For press inquiries or general information, please contact the gallery office at admin@jankossen.com or call at 631-903-5564.

 

impulses, restraints, tones: New Compositions by Hannah Quinlivan

JanKossen Contemporary is pleased to present impulses, restraints, tones an exhibition by Australian contemporary artist, Hannah Quinlivan. impulses, restraints, tones is the artist’s first exhibition in New York and will be on view from March 1 – April 20, 2018 with an opening reception on March 1 from 6-8pm.

 

Hannah Quinlivan. Holdfast, 2017. Steel and PVC, 185 x 75 x8 inches.

Best known for her work within the movement of experimental drawing, Quinlivan expands upon the medium to create drawings that employ wire, steel, salt, yarn, shadow, and LED light, constantly evolving and dissecting the elements of a drawing to investigate the confines of the line itself. Twisted wire structures are the basis for her shadow drawings, which Quinlivan later develops further into sculptures; 2D drawings turn into 3D drawings, that are then turned back into 2D drawings. With a deep commitment to the exploration of and innate response to her materials, Quinlivan composes lyrical artworks that stitch together a response to the passing of time. Each element of the work is endlessly translated into an infinite looping web; traveling through our consciousness and drawing attention to the subjectivity of the phenomena of recollection and forgetting.

Hannah Quinlivan. Swallowed by the Sky, 2017. Acrylic and Indian ink on linen, 83 x 73 inches.

impulses, restraints, tones exhibits brand new “Spatial Drawings,” as well as two delicate, yet powerful, site-specific and interactive installations that respond to the gallery space and flux of bodies within it. The well-known “Spatial Drawings” walk the line between sculptural weaving and graphic mark making and explores concepts of temporal reality and memory. Quinlivan’s “Spatial Drawings” performance develops from wire armatures suspended from the ceiling. The shadows of these wire armatures are the basis for Quinlivan’s live and in-person crystalline salt drawings that will be developed over the course of three weeks during exhibition. This work, shown for the first time in New York City, forms part of a series of site-specific ephemeral drawings Quinlivan has been making in Cambridge, Berlin, Hong Kong, Australia, and Colorado from since 2016.

Hannah Quinlivan. It Started with A Spark, 2017. LED light and anodised aluminium, 35 x 46 x 7 inches.

Curator Marguerite Brown, explains “Linear threads and their manipulation have for millennia been symbolically connected to notions of time. The Moirai of ancient Greek mythology, also known at the Fates, were three goddesses who through the act of spinning thread with distaff and spindle, controlled the life of every person from birth to death, when their thread was abruptly cut. Similar female deities exist in Roman, Norse and Slavic mythologies, where thread is consistently wielded as a manifestation of destiny. As such, a simple strand and the way it is stretched, allotted and truncated, became an ancient way of comprehending the movement of a human life through time.”
ABOUT HANNAH QUINLIVAN
Hannah Quinlivan, named by BMA Magazine as one of the Six Canberra Artists to watch in 2018, was a finalist for the 2014 Alice Prize and has received such prestigious accolades as the Canberra Critic Circle Award, Shire of East Pilbara Residency Award, Cox Prize, Don Moffat & Cecilia Ng award, People’s Choice Award, Megalo Print Studio and Gallery Residency Award, and the Jan Brown Drawing Prize. She has exhibited major presentations at Canberra Museum and Art Gallery, Canberra; National Portrait Gallery, Canberra; Colorado State University, Fort Collins; Cambridge University, London, Pembroke College, Cambridge; Deakin University, Melbourne; The Hong Kong Harbourfront, Hong Kong; and Kuala Lumpur Biennale, National Art Gallery of Malaysia, Kuala Lumpur. She is in such prestigious public collections as National Gallery of Australia, Gregory Allicar Museum, The Australian High Commission (Singapore), Philip Cox Collection, Deakin University, The Australian National University, KPMG Art Collection, Gaw Capital collection, Colorado State University, Megalo Print Studio + Gallery, Shire of East Pilbara, Ormond College Collection. She was recently selected by the curators of Urban Art Projects to create a major public art commission where her work will be featured on the glazed screen of every platform of the Canberra Light Rail network.

UnBreakable – Ceramics Redefined

JanKossen Contemporary is pleased to present UNBREAKABLE: CERAMICS REDEFINED, an exhibition of figurative and figurative abstract contemporary ceramics with work by Penny Byrne, Kathy Stecko, Claire Curneen, Cathy Lewis, and Keun Woo Lee.

The connotations surrounding the medium of ceramic have historically been associated with concepts of craft and vessel. This exhibition however, brings together five contemporary artists who break down these confines to create haunting, political, religious, and poignant sculptures. Their historical consequences, contemporary conceptualism and social relevance, adhere to and break historical molds of craft while standing on the forefront of trends in contemporary sculpture.

Australian artist Penny Byrne’s sculptural works are politically charged, highly engaging and often disarmingly humorous. Using materials such as porcelain figurines, bronze, glass, vintage and found objects, Byrne’s work presents an ongoing inquiry into popular culture and international politics. Though the themes of her work are dark and heavy, the lightness and treatment of the porcelain contrasts this, formulating a new perception of these themes.

P.Byrne.Putins Poodle.2017_13x4x4in view 2 low res

Penny Byrne. Putin’s Poodle, 2017. Trump bobble head, antique porcelain figurine, epoxy resin, enamel paints, 13 x 4 x 4 inches.

Kathy Stecko’s humanoid porcelain sculptures resemble a party thrown at a haunted circus.  The elongated yet truncated limbs recall elements of 16th century mannerism, while the bulging bellies and hallow eyes resemble the psychological undertones of an Edvard Munch. These tiny sculptures hang on the wall or stand on their own pedestals to create tiny clusters of figures both affecting and endearing. Stecko lives and works in Brooklyn, NY.

KathyStecko_Fracture_2017_14.5x3.5x3in_porcelain

Kathy Stecko. Fracture, 2017. Porcelain, 14.5 x 3.5 x 3 inches.

UK-based artist Claire Curneen’s androgynous figures have always been a convergence of art history, ceramic history, and religious symbolism. Her single standing modeled figures, serve as a developed response to traditional ceramic objects such as the standing Vase, however draw upon medieval and renaissance approaches to depicting the human figure in painting. Often also referencing Medici Blue, Dutch pottery, or Japanese ceramics in her work, you will also often find gold fingers and lips recalling the important Japanese tradition of Kintsugi – the art of repairing broken pottery with lacquer dusted or mixed with powdered gold, silver, or platinum. Taking one step further, Curneen often comments on religious concerns such as symbolic references to Christ, biblical interpretations, concepts of soul, and questions of mortality.

Claire Curneen_Untitled 1 (Bird Figure) _2017_28.25x8.75x8in detail 2

Claire Curneen. Untitled 1 (Bird Figure), 2017. Ceramic, 28.25 x 8.75 x 8 inches.

Cathy Lewis, trained at the Glasgow School of Art, Falmouth School of Art and The University of the West of England, is most known for her beautifully modelled life-sized figures of children with strong urban or tribal identities. Her work is concerned with ideas about culture, social history and self, and she often combines several ideas into one piece each influencing each other and asking and answering questions. Lewis’ work examines the importance of a cultural heritage and how this may be learnt and shared. Encouraging her audience to examine links between the past and the future, her works call into question how the future is consistently propped up by the past.

JanKossen ContemporaryUnBreakable - Ceramics RedefinedJanuary 11, 2018

Cathy Lewis. Mainly Porcelain I (Left) and Mainly Porcelain II (Right), 2017. Ceramic, 47 x 14 x 6.5 inches.

Figurative abstraction is courted, yet ultimately tempered in the work of Keun Woo Lee. Traces of plants, flowers, and other elemental features of landscape remain visible in Lee’s creations. These forms, however, serve as a mere framework for the “nothingness” that holds the artist’s true interest. Lee has developed a keen sensitivity for the exploration of absence’s impact on depth, successfully immersing the viewer’s attention in the concave reductions of the final image. Keun Woo Lee was born in Korea and currently lives and works in Kiel, Germany.

Keun Woo Lee. Wave Series, 2015-2017. Glazed stoneware.

For questions or more information, please contact Karen Gilbert at Karen.gilbert@jankossen.com or at 631-903-5564.

Bruno Walpoth “Insight”

BRUNO Walpoth, The Seeker (left) and The Timid One (right)

Bruno Walpoth is an Italian sculptor who’s wooden, cardboard, and bronze sculptures are caught in a moment — stagnant, while also exposed and carrying the impression of vulnerability. His sculptures are honest in appearance, silently asserting their presence and commanding the space around them. Though paralyzed, these forms continue to build on the meditative tone of the exhibition, immersing the observer in a sensitive encounter.

FRESH! 3rd Annual Summer Show “GEOFORM”

New York, NY. JanKossen Contemporary is pleased to present FRESH! 3rd Annual Summer Show: GEOFORM, a group show in collaboration with Arte Ponte Cultural Institute, featuring works by 26 artists demonstrating their interpretations of geometric abstraction.

GEOFORM is a mixed-media show where visitors are invited to participate in uniquely constructed realities composed by a diverse group of international emerging artists. The exhibition highlights the potential of geometric forms; it is through the combination of pure shape and structure that reality is decoded and the audience is introduced to an intensely raw experience.

Exhibited artists include

Guang Zhu | Brooklyn, NY Patti Samper | Montclair, NJ Stacy Lovejoy | Portland, OR Larry Jones | Terre Haute, IN Ryota Matsumoto | Tokyo, Japan Danielle Feldhaker | Tel Aviv, Israel Sabre Esler | Atlanta, GA John Wilson | Manteo, NC Sean Mick | Jamaica Plain, MA Atsuko Okamoto | Boynton Beach, FL Jackie Tufford | Jupiter, FL George Goodridge | Miami Beach, FL Myoung Su (Sienna) Ko | Providence, RI Blair Martin Cahill | Ojai, CA Jon Merritt | Newburyport, MA April Hammock | Baton Rouge, LA Lisa Fromartz | New York, NY  Kyle Yip | Toronto, ON Monica Delgado | New York, NY Amy Chan | Henrico, VA Jane Lincoln | East Falmouth, MA Blaine Breaux | River Ridge, LA Russell Bellamy | Leesburg, FL Roberta Estes | Seneca Falls, NY Sharmen Liao | Los Angeles, CA Clark Rendall | Brooklyn, NY

Through the works of Danielle Feldhaker and April Hammock, visitors are introduced to the foundations of the genre; both artists reference the styles of Mondrian, Kandinsky, and other abstractionists, while bringing something uniquely theirs as demonstrated by individual varying combinations of form and colour.

Guang Zhu celebrates the beauty of non-objective form by taking a mathematical approach to his work. There is a sense of satisfaction from her organized process, a characteristic also shared by Patti Samper, who captures orderly delight through the simplicity and minimalism of her shapes. Similarly, Sabre Esler’s works are methodically calculated; her patterns are developed logically while also managing to establish a human connection.

There is an added complexity to the works of Larry Jones, Stacy Lovejoy, and Jackie Tufford, as their compositions are emotionally charged. From Jones’s tightly coiled sculptures, to the regal nostalgia of Tufford’s stained glass, to the celebration of childhood in Lovejoy’s works, each artist coerces a different, and yet equally powerful visceral response.

Although chaotic in nature, the works of Ryota Matsumoto, Blaine Breaux, Kyle Yip, and Sharmen Liao, are likewise commanding. The shapes in their works permeate the space, establishing relationships that are simultaneously tumultuous and harmonious. This dichotomy is further illustrated by Atsuko Okamoto and Myoung Su (Sienna) Ko, who find peace by injecting tension. They guide viewers through a balancing act of contrasting elements; from cool and warm tones to the dual experience of movement and stability.

Viewers are exposed to a delicate vulnerability in the works of Blair Martin Cahill, Lisa Fromartz, Monica Delgado, and Russell Bellamy. Each artist redefines perception and creates depth and meaning through layers. Meaning is derived from the relationship between each layer, and audiences are moved towards self-reflection as they consider the juxtaposition of seemingly contradictory elements.

That correspondence between visitor and artwork is further accentuated by George Goodridge, Jon Merritt, Amy Chan  and Jane Lincoln. The audience is present as they participate in an organic dialogue between space and work. The dimensionality of their works reach out and communicates with viewers, pressing for interaction and seeking to be given meaning.

Much like Rosecrans, John Wilson’s work holds architectural elements. Influenced by his background in architecture, Wilson’s art provides structure and shape without instruction; simply permitting the non-objective to exist.

The works of Sean Mick and Roberta Estes exhibit the spirit of geometric abstraction as expressed by Mick, who describes his work as ‘reductive visual language.’ Clark Rendall, whose works are inspired by bodies of water, also embodies this essence of deconstructing, allowing the audience freedom over meaning.

It is through the mastering the genre of geometric abstraction, that these artists create a pure concept that challenges perception and redefines reality.

The exhibition opens on Thursday, July 13th, 2017, and will remain on view through August 18th, 2017.

 

Novum Spatium: Dieter Balzer and Dirk Salz

JanKossen Contemporary is pleased to present Novum Spatium, a two-person show featuring German based artists Dirk Salz and Dieter Balzer, on view from March 16th to May 6th, 2017.

Novum Spatium, meaning New Space, explores the concept of perception in relation to our environment, physical space and one’s interaction within it.

Dieter Balzer, translates these ideas through pristine geometric abstraction, creating sculptural, minimalist form that deal with depth and negative space. Bright, intricate and overlapping; the complex elements built upon each other, carry the viewer’s eyes over and through an endless, looping playground of planes.

papilio_wg2_1_copy

Elements of Balzer’s work run parallel to contemporary influences on graphic, industrial, and architectural design. The flatness of the vibrantly colored foils create a contemporary twist on the theories of non-representational neoplasticism, cubist sculpture and the Japanese Superflat movement.

Where Balzer uses 3-dimensional elements, the work of Dirk Salz approaches these concepts from another perspective. Instead of creating physical depth with his work, Salz toys with the impression of it. Salz’s uses simple, Supremacist compositions that seem to echo with their color transparency and smooth surfaces.

Screen Shot 2017-03-01 at 12.36.24 PM.png

These highly reflective pieces confront the viewer with their own image, and present an experience of shifting planes, and varying depths. Surrounding elements found within the work’s environment emerge and are mirrored as one moves back and forth between the self and the work.

Like John McLaughlin’s Light and Space movement, the works invoke a sense of temporality within one’s perception like a Robert Irwin or James Turrel installation; reinventing the world around us.

Together, the two artists create a visual dialogue that is crisp, energetic and articulate. Moving between the two bodies of work invokes a sense of moving between worlds, one that brightly invokes the geometric quality of architecture and the digital world that is so familiar to us, while the other allows us to reflect on the quality of space and our place within it.

Dieter Balzer studied at the Universities of Heidelberg and Chesterfield College of Art. His work can be viewed across Germany at the Stern-Wywiol Galerie in Hamburg and the Galerie Corona Unger in Bremen, Germany; and has previously shown across the United States and Canada. He currently lives and works in Berlin, Germany.

Dirk Salz studied at RWTH in Aachen, Germany and lives and works in Mulheim an der Ruhr. Exhibitions include public institutions such as the Museum Katharinenhof, Kranenburg, Kunstmuseum Mülheim/Ruhr, Germany and has shown with various international galleries and art fairs.

Building Mountains: First Solo Show of Minjung Kim

JanKossen Contemporary is pleased to present Building Mountains, Minjung Kim’s first Solo Show in New York, opening on 2 February, 2017 and on view through 11 March, 2017.

The work of Kim demonstrates her foundation in the traditional Korean calligraphic arts as well as the influence of mid-20th Century abstract expressionism, both of which celebrate the ability to convey energy and spirit through the manipulation of line and practiced spontaneity. Her artworks make use of small torn pieces of HaKimMinjung-Building Forest15_19, 165x130cm,2015.JPGnji, a traditional handmade paper from Korea, as well as ink and paint in a sculptural capacity creating the illusion of dimensionality, geometric form, and architectural minimalism.

Her work explores the expressive potential of pure material. The tone of her work is often at once contemplative and whimsical, ethereal and scientific. It moves onlookers to consider man’s place in nature and our relationships to each other.

She is hesitant to label her work as art — rather she describes her practice as a “discipline of life,” a meditative process which simultaneously requires her to focus her energy and to clear her mind.

Kim obtained her MFA and PhD at Seoul National University. She has been widely exhibited with exhibitions at such prestigious institutions as Danwon Museum of Art, Shangshang Museum of Art, Seoul Art Center, Bunan Museum of Art, Namsong Museum of Art, and Hanwan Museum of Art. She has won countless awards and honors including the 2004 Dong-A Art Prize, 20th Kyungin Great Art Prize, and the 7th Nahyseuk Women Art Prize. She currently lives and works in Korea.

Behind The Glass First Solo Show of Michael Burges

02no-13-2015_180x150

JanKossen Contemporary is pleased to present Behind The Glass, Michael Burges’ premier Solo Show in New York, opening on 20 October, 2016 and on view through 28 January, 2017. This exhibit showcases Burges’ most recent works from his Reverse Glass Paintings series, which he has been working on since 2009. Employing a unique technique of reverse glass painting with gold and platinum leaf, Burges creates large works with an extraordinary color presence, aesthetic precision and visual impact.

In his most recent series Reverse Glass Paintings, Burges uses plexiglass instead of canvas to create a “window” to an alternative reality, and bends the rules of traditional painting techniques. Using a multi-layering process, Burges freely plays with combinations of colors, experimenting with various methods of applying paint with rags and sponges; for his backgrounds the artists uses precious metals including platinum, copper and gold leaf.

What the viewer sees is an abstract painting, free of pre-conceptions – the viewer is invited to freely interpret the art – Burges hence invites us to an open, non-verbal dialogue.

Burges has been exploring the possibilities of color, space, their relationship as well as the effect it produces on the viewer and vice versa since 1983. His approach to painting is often described as a ‘science of art’, comparable to the visual expression of scientific laws and hypothesis. There is however a spiritual quality to his work, embodying elements of Buddhism principles, suggesting the influence of the artist’s background in Comparative Religions, Ethnology and Indiology.

Michael Burges was born in Duesseldorf, Germany in 1954. He currently lives and works in Dusseldorf and Italy. He attended Heinrich-Heine University Duesseldorf, where he studies social sciences. Shortly thereafter he studied Comparative Religions, Ethnology and Indology at Friedrich-Wilhelms-University Bonn, Germany. Burges began painting in 1981 and is influenced by American Painter Douglas Swan. In 1983 he became engrossed in the style of abstract painting that has persisted as his method of expression through to the present. JanKossen Contemporary has chosen to showcase his work as it reflects strongly upon the aesthetic and conceptual intentions of the gallery.

He has had installations spanning internationally, including exhibitions in Paris, Belgium, Munich, Los Angeles, and Miami.