Rosa JH BerlandCurator

New York, New York, United States

The Magic of Color

A small selection of paintings and installations that amazed me in color technique!

Date :

Medium : Paint on brocade, painting pole, braided cord

Dimensions : 59" x 109"

Availability : Yes



Rosa JH Recommends

King appropriates cheap, low-fi materials from urban and semi-urban space that he constructs into sculptural form. This is built up to propose architectural vistas and panorama shot through with geometric and futuristic qualities. Within disorientating compositions of towers, platforms and crawl spaces lie discarded traces from the city and its edge zones. Bits of wire, beer cans, plastic soldiers and newspaper cuttings that appear reminiscent of counters on a game board, circulate on invisible pathways within the larger system. King often draws on the surface of forms with repeat diagrammatic shapes. These patterns, that evoke camouflage markings, ricochet throughout and invest the structure with identity. King’s hermetic environments appear to explore the erosion of space, between public and private, city and country. As with Science fiction, the dystopian aspect of his work presents a mirror that reflects on our own contemporary fears. Where are we within these complex matrices of discarded stuff come back to haunt us? Who or what resides in and beyond the surface? And where does power lie?

April 2019
Cindy Mason, a visual artist, uses painting, installation, sculpture and drawing to investigate how we control and are controlled by meaning through phenomenological aspects of public and private space. From the two dimensional exploration of oil painting to permutating the confines of painting, she experiments with various forms of abstraction. Sources of inspiration are the architectonic communication of language and the semiotics of our built environment. Her interest lies in exploiting the contradiction between what we know to be there and what we actually see. Materials such as paint, hair, paper towels, pins, plastic wrap, wood, hot glue, 24.75k gold leaf, aluminum foil and porcelain become explorations of societal value systems.
While stillness is a punishment, movement is a celebration. I would like to place moving images (actual moving objects) everywhere - throughout most of the atmosphere - on walls and ceilings, in mid air. A new industrial revolution would create colored papers that hang from the ceiling, and fabricate flowering machines. Like a parade heard in the distance, a banging toward a new manufacturing. Cities imagined as gears and pulleys, people walking are little white lines on cords traveling frictionless.
My paintings arise from my perception and use of color as a vital, intense, electric, animating force. They would not exist but for the excitement of color relationships. As they are largely abstract and provide enough of an impression of movement, you may be tempted to consider them in musical terms -- color, movement, interval, balance, direction, duration.
My paintings range across the spectrum of abstraction, but are united by these concerns:
the spirit of discovery, the use of color, a range of materials, and a considerable variety of textures, scales, orientations -- to remake the world anew, to paint it fresh, to discover something I have not seen before -- and to commune with some of the best, most alive modern and contemporary art... .
Each painting then is a possible world, a one-time experiment, that sings its own song, that looks for its own joy within the universal pursuit of happiness, the universal attempt to avoid pain... .
“Art is about not knowing where we’re going” (Wolfgang Laib, German conceptual artist) …
…all we really know is where we came from… .
My work is a series of physical challenges and a form of object investigation. Through experimentation and play, I discover images and networks that seem to be previously established and self-evident. I am constantly looking towards and exploring the nature of failure and ideas regarding impermanence. My work references the two-dimensionality and simplicity of early Nintendo games with the absurdity and complexity of Rube Goldberg-type contraptions. Employing chance operations with an emphasis on process and materiality, I am interested in the phenomenon of facilitating a work to “occur”; where this moment of discovery, potential and transition exists within the space of failure and happening, there and not there.
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