MELISSA STAIGER – IN THE FOUNTAIN
May 28-June 30, 2019
Opening reception: Tuesday, May 28, 6-8pm
Surface/Reflection, 2018, collage on paper, 15 x 11 inches
I work with various materials that vary greatly in scale and construction. Consistently you will see bold color, texture, gesture that holds sensitivity and harmony among its parts. Collage and assemblage are key mediums that guide my playful process of seeing the possibilities before making a choice of composition.
Moving paint around is a sensual experience for me. The marks that I make in the form organic shapes and curves are painted to express a constant state of flow. Color is a potent expression and medicine.
In 2013, I was nominated to attend the Robert Rauschenberg Artist Residency. The staff graciously took us to the massive metal scrap yard where Rauschenberg would find materials for his works. I started playing with scraps that I hadn’t thought of using before. A green metal piece became a major key player in my understanding on how found objects can give the surface of a painting so much 3D texture. This put me on a path of creating many assemblages with various materials.
All of these experiences I took back to the studio and my work. Combining physical objects with paint adds another dimension to my art. From the most expensive tubes of paint to a broken tile found on the floor, both hold an energy and vibration of color. I carefully arrange objects, shapes, lines, and colors. I pay attention to the relationships, patterns, and shifts of movement. I arrange them in my works and play around with it.
I need time to immerse, experiment, listen, and draw in my sketchbook to push my work further. In this creative process, I control what I produce and can deem myself authentic as the creator. In my creative process, circles, mark making, collage, painting, assemblage, and texturizing are taking me to a path of color, structure, and layering. I love the hard edge, and making marks and using color as the structure in my work opens up a glimpse of understanding that I crave within my inner self. When I am able to use my entire body and make sweeping marks on the floor, I am reaching for a composition to form. Then suddenly, the work feels right and then I have a moment of accomplishment right before I release it into the world.”
– Melissa Staiger
Images: Surface/Reflection, 2018, collage on paper, 15 x 11 inches (top); IN the fountain #3, 2017, collage on paper, 15 x 11 inches (middle) ; IN the fountain #4, 2017, collage on paper, 15 x 11 inches (bottom)
KELLY WORMAN - YOU + ME + EVERYONE
November 19-January 12, 2019
Kelly Worman (b.1983) is an artist, curator, professor, and archivist based out of New York City. She holds an MFA from Pratt Institute (2011) in New York, and an MA in Culture, Criticism, and Curation with distinction from Central Saint Martins (2015) in London. Worman teaches at Pratt Institute in New York. She exhibits her work internationally and is included in an array of private collections. Recent exhibitions this year include Summer of Love at Freight + Volume in New York, NY, the Invitational at Barney Savage Gallery in New York, NY, WE: Women Empowering Women at Borghese Gallery on the North Fork, and I See an Omen at Benaco Arte in Sirmione, Italy. Worman was featured in NY Arts Magazine as one of "30 Artists to Watch" in 2012. Recent curatorial projects include Shapes of Curiosity at The Schneider Museum of Art in Oregon, Surface Tension and Land After Time at E.Tay Gallery in New York, NY and the last three (2015, 2016, 2017) Pratt Alumni Exhibitions at Pratt Institute in Brooklyn, NY. Other recent projects and publications include Karen Barth: Works 1979 - 2014 (a catalogue raisonné), WYSIWYG?- What you see is what you get? (a project in collaboration with South London Gallery, investigating the impact of the digital world on art and culture in the 21st century), the Studio Spoken project (interviewing artists about their studio practice), and "The (W)hole Picture–Transgressing/Abjecting Subjectivities in Art" in Unknown Quantities (written with Janice Mitchell). Worman also writes and speaks extensively on color theory, the role of artist as curator, the artist as entrepreneurial model, and arts and economics at multiple institutions internationally.
I make paintings and objects investigating non-verbal energy in modern relationships: personally, collectively, or culturally. Since the election of 2016, this energy has been particularly interesting, and this body of work investigates those nuances. I make this work from the perspective of being a woman.
DANIL GERTMAN – LIKE NOBODY WATCHES
September 10-November 4, 2018
Opening Reception: September 13, 6–8 PM
My most favorite childhood pastime was staring with a gaping mouth at every piece of crap around me. I gawked at everything: people, trees, buses, copulating cats, local drunks, funerals, weddings. My parents didn't like it. It could get you into trouble. In Soviet society people hardly liked to be an object for gawking, but it didn't matter--I stared at them stealthily.
I demonstrate my own thinking process through image, painting, and drawing. My themes come from the connections made by the immediate impression made between people, their environment, memories, and dreams. I collapse them into one single moment, that can be rendered as a painterly still image or dissected and presented as a lively visual flow of drawings and texts on large sheets of paper.
All the works presented in the SCPS Gallery at Pratt Manhattan, were completed during the past year. The thematic subjects were inspired by the people and the city, that I became lucky to engage with as a total novice in NYC. I would especially single out the New York subway in this context, where I spend about 3 hours daily.
The whole body of work can be divided as follows:
The canvas works embody concrete ideas. I see them as a direct result of my continuous analytical thinking process. Usually, they grow around a certain personality and that character’s state of mind. Technically, they are fulfilled with combinations between oils, acrylic, and graphite or crayons.
The paper works are my attempt to render a more immediate thinking process as "unedited" drawing images and texts--revealing a certain interim substance between the canvas works, such as subconscious matters that are aligned with "automatic writing". Again, I use a mix of diverse materials from silverpoint technique and ink pens along with oils and acrylic.
With the watercolor works I am trying to render immediate associative chains, where color itself becomes the main character. In this instance, I believe watercolor is the most reasonable, fast and flexible material to "catch" it.
I believe these different approaches coalesce into one whole visual form in my attempt to make my creative thinking process, which has been impacted by the unique atmosphere of NYC, visible.
Danil Gertman sees himself primarily as a painter but works also on interactive video-art stage performances, animation installations, sound art and music collaborations. In 2005-2009 he was represented by Rosenfeld Contemporary Art gallery, Tel Aviv (www.rg.co.il). In 2008 he was awarded Young artist Prize in Art and Design by Ministry of Science, Culture, and Sport of Israel. Nominee of European festivals for visual effects and animation art. His exhibitions include several one-man shows and two museum shows in the Haifa Museum of Arts.
In 2017 he joined the MFA studio program, major Painting and Drawing at Pratt Institute. He was awarded with renewable Graduate Merit Scholarship in 2017, Prestigious Rogalski Scholarship Fund and Ross Scholarship in 2018.
Gertman was born in Sevastopol, former USSR in 1973. He emigrated to Israel in 1991. In 1993-1997 he was mentored by I. Barilev, former professor of Repin Academic Institute of Fine Arts (Sankt-Petersburg, Russia). After completing his BA in Fine Arts at Haifa University moved to Tel Aviv where he worked and lived until 2017.
He has a significant pedagogical experience, and has served as mentor at Maagan Michael Painting Studio, 2005-2017 where he developed and Instructed art courses for 2-4-year-olds Previously he worked as an art instructor with Holocaust survivors in Reuth (Tel Aviv) Rehabilitation Center, 2012-2015. Gertman currently lives in New York with his wife and two-year-old son.
ALLEN BALL - ALLUVIUM
May 29–July 21, 2018
Opening Reception: Tuesday, May 29, 6–8 PM
My work is deeply rooted in my childhood experiences playing near phosphate mines and on land owned by the timber and pulp industries in Florida. I make installations, video, and textured paintings that consist of dirt ash and burned refuse. I am fascinated with the vestiges of man's past and present exploitation of the environment as well as geography and ecology in relation to time.
Born in 1993, Orange Park, Florida, Allen Ball attended Florida School of the Arts for two years before transferring to the University of North Florida. Allen double majored in Art History and Fine Art and earned a BFA in 2017 from UNF. Allen currently attends Pratt Institute in pursuit of his MFA.
A.A.S. SENIOR EXHIBITION
Fine Arts Associate Degree Program
May 5-May 18, 2018
Friday, May 4, 2018, 5-7 PM
Monday, March 12–Saturday, April 28, 2018
Opening Reception: March 15, 2018, 6–8 PM
Botanical illustrations by their very nature are precise and elegant. Often this type of drawing depicts a plant removed from life, a specimen selected for scientific study or display. Alternatively, Nancy Glover’s vivacious botanical drawings provide a fresh update on this historical genre, and are rigorous without being clinical.
Nancy Glover grew up in the Rocky Mountain region of Western Montana. Glover moved to the West Coast after earning a BA from the University of Montana in Missoula. She attended California College of Arts and Crafts in Oakland before moving to New York City. In 1991 Nancy received an MFA in painting from Hunter College. Later, in 2005 she earned a certificate in Botanical Illustration from the New York Botanical Garden. Glover was awarded residencies at McDowell Art Colony, Virginia Center for the Creative Arts and Montana Artist Refuge. She has been included in numerous exhibitions. She lives and works in Brooklyn and currently teaches Introduction to Botanical Design (course code XFA-467) at Pratt Institute¹s School of Continuing and Professional Studies. The course starts Saturday, March 17, 2018.
Images (top to bottom, L-R): Easter Lily; Azuma Orchid 3; Hellebore.
KATERINA LANFRANCO – EFFLORESCENCE
Tuesday, February 6, 2018 - Saturday, March 10, 2018
Opening Reception: February 7, 2018, 6-8PM
Katerina Lanfranco makes paintings, drawings, mixed media sculptures, and installations.
The basis of my art practice is the act of collecting, organizing, and fragmenting images and objects from nature and everyday life, incorporating my own vocabulary of visual elements. I make art as a way to ask questions about the world that I live in:
How do I make the invisible visible?
At what point does fantasy become reality?
How is our concept of nature a cultural construct?
My work seeks to explore the intricate duality of culture and nature, and the ways in which our understanding of nature informs our own identities. With each of my exhibitions I invest in the aesthetic experience of the viewer, and consider how the site-specificity of the show will evolve and develop in dialogue to the architectural setting of the space. I reference culture-specific modes of representing nature, such as botanical illustrations, floral fabric patterns, curio cabinets, scientific notes, dioramas, and panoramas. Landscapes, sacred geometry, natural disasters, natural history, biological structures, and genetic engineering are recurring themes, as are cultural conceptions of progress, systems of knowledge, and the problem of creating meaning within a natural world.
Images (top to bottom): Night Void, 2017, oil paint and mixed media on canvas, 72 x 84 inches; Dawn Air, 2017, oil paint and mixed media on canvas, 72 x 72 inches ; Everything All The Time, 2017, oil paint and mixed media on canvas, 72 x 72 inches; Twilight Ether, 2017, oil paint and mixed media on canvas, 72 x 84 inches
ANDREA CUKIER – FADING FORESTS
Tuesday, December 12, 2017–Saturday, January 28, 2018
Opening Reception: Friday, December 15, 6–8 PM
The deterioration of our natural world as a result of human intervention and environmental catastrophe anguishes me and triggers the impulse that drives my work. I paint imaginary landscapes in the aftermath of events that changed the places dramatically.
These landscapes seek to challenge the traditional ways of representing land, water, sky, plants and man-made structures. I explore altering the order of how these elements interact. I allude to them in ambiguous ways and let that ambiguity guide the process.
My works on canvas generally evolve from an abstract composition created with biodegradable priming materials and pigments. Some have collage technique as I incorporate dead plants and found debris.
As each painting builds, I gradually integrate its graphic elements with different densities of atmosphere that evoke certain moods and thoughts—usually the love I feel for nature combined with the anxiety that its ongoing destruction causes. Often, I include allusions to the traces that displaced creatures have left behind.
I approach my works on paper differently: while inspired by the same feelings, the frailty of the medium moves me to create more lyrical images. My craft reveals how fragile these works are, as is our natural environment.
Images (top to bottom): Andrea Cukier, Aftermath 1, 2017, ink, coffee, salt and sugar on paper, 11 x 20 inches; Aftermath 3, 2017, ink, coffee, salt and sugar on paper, 10 x 23 inches; Bugs and Vines (Broken Forest), 2016, mixed media (collage and oil) on canvas, 30 x 40 inches. Images courtesy of the artist.
PAUL SUNDAY - INVERSIONS
Tuesday, November 14, 2017–Saturday, December 9, 2017
Opening Reception: Tuesday, November 14, 6–8 PM
Become aware of your perception of light, texture and form through Sunday's vocabulary of geometric abstraction.
"These new paintings are inversions of my early works. They take the palette of subtle whites and off-whites of the first paintings and transform them into something like a photographic negative. They were born in my mind's eye some years ago while experimenting with an alternative vision therapy called the Bates Method. There is an exercise where one covers the eyes and attempts to visualize a field of pure black. In the beginning what mostly happens, is that dark, subtle images form. My creative life has been engaged primarily with the picture plane. As a photographer and painter, I produce super flat works, but they are always meant to capture volume and light. While these paintings are quite dark, light is the primary material. On their surfaces, I am riffing on the vocabulary of geometric abstraction, but the principal concern is to examine the subtle experience of seeing, the movement of light in space." —Paul Sunday
Images (top to bottom): Paul Sunday, Tilt, Line, Prop, Slope, Stack. Images courtesy of the artist.