#contemporary art curator

[elixir]

Moonrise Phyllis Shafer — 2015 oil on canvas

[joriekerottier]

Artistic exchange between artists of Durden and Ray (USA) and ruimteCAESUUR (NL).

Resulting in two exhibitions, ADAPTATION (see catalog above) in ruimteCAESUUR Middelburg, and CROSSING BORDERS in the DurdenandRay Gallery in Los Angeles.

With Arezoo Bharthania, Valerie Wilcox, Ben Jackel, Giel Louws, Hans Overvliegt and Jorieke Rottier

[mangoslixes]

“Shadow and light are the most stable and perfect tools of creation: they unite colors, shapes, and dimensions,” says Moldovan artist Sergiu Ciochină, adding that “shadows move us through diversity, enhancing our perception, while light fills us with the joy of discovery.” In saturated hues, he captures dappled sunlight as it filters through the trees and the rich tones of the golden hour as it casts deep bluish-purple shade onto the sides of houses.

Taking cues from the Impressionists, Ciochină focuses on the nuances of light and its ability to reveal outlines and forms. He works in thick, impasto oil paint on board, emphasizing the shapes of windows, doors, and stoops and transforming otherwise ordinary buildings into compositions glowing with the patterns of foliage, architectural angles, and the texture of brushstrokes. “The symbiosis I create between nature and architecture is intended to evoke a love for space,” he says.

on Sergiu Ciochină

[supersonicart]

KELSEY BECKETT'S "OUR LADY" TIMED EDITION PRINT.

Available beginning this Friday, May 31st at 1PM PST with Supersonic Editions for 72 HOURS ONLY!

Sign up for our newsletter to get notified!!

[rosechata]

ullathynell

[kaalbela]

Sarah Mari Shaboyan

[manufactoriel]

Young Nigerian woman in the late 1950's, photographer unknown

[piizunn]

ᓄᐦᑕᐃᐧᕀ ᐊᐢᑯᑖᐢᑯᐱᓱᐣ nohtawiy askotâskopison, My Father’s Cradleboard by Morgan Possberg Denne

The New Gallery, November 18 - December 22, 2023

“Cradleboards have been used for thousands of years by our ancestors to carry and love for our future generations. They have protected us, acted as an external womb, and given us a place as children to watch our parents' culture and learn from a safe distance. I’ve always wondered if the fact that neither my father, his father, or myself was ever put in a cradleboard may have had a long term impact on our development, personhood, and our coping mechanisms to the ways that colonialism, residential schools and the foster care system has affected my family.

Now as an adult I deeply wish I could rewind the clock and put myself, and my father before me, and his father before him in a cradleboard as a child. To softly sing songs to us, give us safety, and to give us a connection to our culture in a safe environment. Maybe this would fix things. As kids when we were supposed to be kept safe and playing in the woods we were instead being prepped for the meat factory - the eternal meat grinder of colonialism.

The western world teaches us to push aside this childhood imagining and innocence - “These things can’t be undone!”, but what if they could? In another world somebody took better care of us, in another time we learned to drum and sing and dance, in another place we were listened to by adults who had the capacity to love and care for us.

These hot chest and aching throat feelings, the times of biting back angry tears and saying “It’s fine” have to count for something….right?”

“Morgan Possberg Denne is Two-Spirit millennial scoop and foster care survivor; with settler, Cree, Metis, and Chippewa blood connections. They have grown up in treaty 7 territory, and have relatives in southern and northern Ontario. Morgan creates imaginative, illustrative objects which could be seen as pieces of possible narratives, different ways to connect with the past and potential futures through layers of abstraction with no right or wrong answer. What matters to them is not accurately recreating the past or to predict the future, but rather to capture an inner truth and a possible alternative reality of colonial experiences. In a sense, creating new culture from a series of “what-ifs” and new stories / lore. Their work has been recently shown at the Confederation Centre for the Arts and Gallery Gachet.”

(Photos belong to me and the description and artist bio are courtesy of The New Gallery’s website)

[IDs:

1. a large wall hanging made from fish leather,

2. a close up of the same piece. the artwork has faint text cut out of the green tea tanned fish that reads “hey it’s not your fault, you know that right?”

3. a photo of the space showing a video projected onto several fish skins, a table with a vest and a hat made of fish leather, and on the table are cartons made from rawhide.

4. a coatrack on which are a rawhide hunting ruffle and rawhide fishing net resembling a badminton racket

5. a shelf seen in the background of image 3 containing a astro-turf shirt, a hand gun and pocket knife made from rawhide and a fish leather circular clip with a piece of dark hair hanging off the shelf.]

[acrylicalchemy]

This is my "Eternity Canvas." This 48in x 40in painting started as a blank canvas covering my table. Over the years, I wiped my palette knife as I worked on all my creations. After a handful of years, this is the result, a textured road map of my history. I can still pinpoint specific paintings and periods when I spend time with this process piece. It is currently headed to a new gallery in Florida.

[elixir]

A rhododendron garden near Lake Como Henrik Gamst Jespersen — Pre 1936 Oil on Canvas

[nimalian]

Running Out of Time, 2023

Photo by Nima Lian

[mangoslixes]

Sarah Mari Shaboyan is an analog artist who has reminded us of the simple pleasures of what art is really about, drawing for joy. In her own words on an Instagram post we came across, “Drawing just for your joy is the best treatment, you’re free of your own criticism, you don’t care at all about the results and you enjoy every singe stroke just because you’re relaxed.” If you’re an artist yourself or really doing anything you love, you know how hard it can be to do your best work when responding to the wants of others, whether it be clients, customers, or even your internal thoughts. We sometimes can get so caught up in what we think we should create or put out into the world, that it can be really easy to lose ourselves and the overall enjoyment these outlets are supposed to bring us. Sarah’s portfolio is a testament to what can happen when you strip your practice of these expectations and just focus on creating.

on Sarah Mari Shaboyan

@kaalbela's post made me find her and I'm in love

[supersonicart]

COMING SOON TO SUPERSONIC EDITIONS:

Kelsey Beckett's "Our Lady" will be available as a timed edition print as well as a limited hand embellished edition of only 25 copies, beginning on Friday, May 31st at 1PM PST with Supersonic Editions.

Don't miss out!

[rosechata]

archbudzar

[from-a-spiders-web]

By Wang Meifang and Zhao Guojing

[kaalbela]

Enikó Katalin Eged. Black foal with two birds, 2022 / Black and white, 2022.