June 1- August 31, 4Ground Midwest Land Art Biennial
How Much Earth For Sale?, 2022
earth, concrete, wood, metal, paint
11 x 14 x 6 feet
A new rammed earth sculpture debuts at Franconia Sculpture Park for 4Ground Midwest Land Art Biennial.
4Ground: Midwest Land Art Biennial is pleased to announce the participating artists in the inaugural contemporary art festival taking place June-August 2022. Conceived by Franconia Sculpture Park Executive Director & Chief Curator in collaboration with more than 20+ community partners including tribal organizations, art museums, and land conservationists, 4Groundis a far-reaching initiative spanning four states and tribal lands of the Upper Midwest. 4Groundis designed to raise awareness around important land and water issues affecting the region while celebrating the art, land and history of the rural Midwest and boosting tourism of the region through suggested road trips to experience site-specific land art. www.4groundbiennial.org
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June 1- August 31, 4Ground Midwest Land Art Biennial
How Much Earth For Sale?, 2022
earth, concrete, wood, metal, paint
11 x 14 x 6 feet
A new rammed earth sculpture debuts at Franconia Sculpture Park for 4Ground Midwest Land Art Biennial.
4Ground: Midwest Land Art Biennial is pleased to announce the participating artists in the inaugural contemporary art festival taking place June-August 2022. Conceived by Franconia Sculpture Park Executive Director & Chief Curator in collaboration with more than 20+ community partners including tribal organizations, art museums, and land conservationists, 4Groundis a far-reaching initiative spanning four states and tribal lands of the Upper Midwest. 4Groundis designed to raise awareness around important land and water issues affecting the region while celebrating the art, land and history of the rural Midwest and boosting tourism of the region through suggested road trips to experience site-specific land art. www.4groundbiennial.org
New Interview – Meet James Gilbert / Sculptor & Installation Artist
It May Be Time to Rethink the Way You Think, 2017, hand-dyed canvas, polyester rope, wood, wax, 88 x 40 x 27inches
The Show that the LA Times, Curate LA, Venison Magazine, and Art and Cake Have Been Talking About
A Narrow Passage, a multidisciplinary exhibition featuring the work of Lana Duong, James Gilbert, Jenalee Harmon, Megan Mueller, Jenny Rask, Nicolas Shake, Katya Usvitsky, and May Wilson, has already been received with great fanfare. Major media outlets like the Los Angeles Times and the international publication, Art Week, have been promoting the show, as well as well-respected regional outlets, like Curate LA, Art and Cake, Venison Magazine, Asymmetric Magazine, and DoLA:
Noysky Projects presents A Narrow Passage, a multidisciplinary exhibition that explores themes of constriction, compression, and concealment as a way to relate to personal biographies.
Abstract works from A Narrow Passage are comprised of materials that twist, turn, bond, choke, or smother to the point of collapse, while others have approached constriction in a more gratifying way, like the comforting sensation of a warm embrace or the euphoric feeling of pleasure derived from pain.
Artists have used the compression of space as a visual device to relate to the body for thousands of years. Ancient Egyptians wrapped the body in ornate sheaths that accentuated the unique forms of the individual, while providing familiar biographical landmarks to aid the spirit in its journey to the afterlife. Shibari, a form of Japanese rope bondage developed during the Edo period, was used as a decorative device to display captive prisoners like trophies, creating complex patterns and shapes that pressed into the skin. Twentieth-Century works from Man Ray and Christo & Jeanne-Claude have used concealment as a means to invoke mystery, transformation, and revelation, while Eva Hesse and Jackie Winsor put the body back into abstraction, using hands-on processes and tactile materials that actively rejected the detached qualities of the minimalists.
Many of the works in A Narrow Passage employ elements of playfulness with form while acknowledging the weight and density of the artist’s chosen materials. Some of the works in A Narrow Passage relate to the quirks of the body, straddling the line between fragility and rigidity, using irregular, organic forms. Others have used tension to reveal internal conflict, illuminating our efforts to adapt to our new political realities while also protecting the ideas we cherish most.
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It May Be Time to Rethink the Way You Think, 2017, hand-dyed canvas, polyester rope, wood, wax, 88 x 40 x 27inches
The Show that the LA Times, Curate LA, Venison Magazine, and Art and Cake Have Been Talking About
A Narrow Passage, a multidisciplinary exhibition featuring the work of Lana Duong, James Gilbert, Jenalee Harmon, Megan Mueller, Jenny Rask, Nicolas Shake, Katya Usvitsky, and May Wilson, has already been received with great fanfare. Major media outlets like the Los Angeles Times and the international publication, Art Week, have been promoting the show, as well as well-respected regional outlets, like Curate LA, Art and Cake, Venison Magazine, Asymmetric Magazine, and DoLA:
Noysky Projects presents A Narrow Passage, a multidisciplinary exhibition that explores themes of constriction, compression, and concealment as a way to relate to personal biographies.
Abstract works from A Narrow Passage are comprised of materials that twist, turn, bond, choke, or smother to the point of collapse, while others have approached constriction in a more gratifying way, like the comforting sensation of a warm embrace or the euphoric feeling of pleasure derived from pain.
Artists have used the compression of space as a visual device to relate to the body for thousands of years. Ancient Egyptians wrapped the body in ornate sheaths that accentuated the unique forms of the individual, while providing familiar biographical landmarks to aid the spirit in its journey to the afterlife. Shibari, a form of Japanese rope bondage developed during the Edo period, was used as a decorative device to display captive prisoners like trophies, creating complex patterns and shapes that pressed into the skin. Twentieth-Century works from Man Ray and Christo & Jeanne-Claude have used concealment as a means to invoke mystery, transformation, and revelation, while Eva Hesse and Jackie Winsor put the body back into abstraction, using hands-on processes and tactile materials that actively rejected the detached qualities of the minimalists.
Many of the works in A Narrow Passage employ elements of playfulness with form while acknowledging the weight and density of the artist’s chosen materials. Some of the works in A Narrow Passage relate to the quirks of the body, straddling the line between fragility and rigidity, using irregular, organic forms. Others have used tension to reveal internal conflict, illuminating our efforts to adapt to our new political realities while also protecting the ideas we cherish most.
A Historic Point of Interest and other Landmarks
January 26 - March 5
A solo exhibition features a large site-specific work that consumes the gallery with a selection of smaller works that address destruction of architecture, intentional actions that destroy architecturally important and significant cultural heritage sites. The labor-intensive process of hand sewing and hand-dyeing hundreds of visually dense canvas objects that weigh upon or support fragile wood structures that remind us of relief carvings, elaborately designed doors, buttresses, architectural joints and bridges.
Natural disasters and accidents are inevitable but it is human aggression where we experience the loss of art, architecture and historical sites that are neither designed nor intends to be destroyed. To deliberately eradicate identity is to eradicate art and objects of symbolic meaning. We have witnessed systematic destruction of heritage as an attempt to destroy cultural diversity through religious or ideological reasoning, political agenda, activism or cultural curation. I wanted to reimagine an object that is simultaneously a symbol and protectant. When building barricades for fortification in front of and around culturally significant objects and architecture they then become the new identity and description for the object they are protecting. Through the use of common art making materials: paint, canvas, marble and wood, they are reinterpreted as devices to defend, deter or lessen destruction but also form a new autonomous work to be visited, viewed and contemplated.
PYO Gallery
1100 South Hope Street #105
Los Angeles, CA 90015 pyogalleryla.com
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A solo exhibition features a large site-specific work that consumes the gallery with a selection of smaller works that address destruction of architecture, intentional actions that destroy architecturally important and significant cultural heritage sites. The labor-intensive process of hand sewing and hand-dyeing hundreds of visually dense canvas objects that weigh upon or support fragile wood structures that remind us of relief carvings, elaborately designed doors, buttresses, architectural joints and bridges.
Natural disasters and accidents are inevitable but it is human aggression where we experience the loss of art, architecture and historical sites that are neither designed nor intends to be destroyed. To deliberately eradicate identity is to eradicate art and objects of symbolic meaning. We have witnessed systematic destruction of heritage as an attempt to destroy cultural diversity through religious or ideological reasoning, political agenda, activism or cultural curation. I wanted to reimagine an object that is simultaneously a symbol and protectant. When building barricades for fortification in front of and around culturally significant objects and architecture they then become the new identity and description for the object they are protecting. Through the use of common art making materials: paint, canvas, marble and wood, they are reinterpreted as devices to defend, deter or lessen destruction but also form a new autonomous work to be visited, viewed and contemplated.
PYO Gallery
1100 South Hope Street #105
Los Angeles, CA 90015 pyogalleryla.com
LA Art Show
January 27 - 31
Los Angeles Convention Center 1201 South Figueroa Center Street West Hall Los Angeles, CA 90015
PYO Gallery, Los Angeles, Seoul, Beijing – Booth 621/720
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Los Angeles Convention Center
1201 South Figueroa Center Street West Hall
Los Angeles, CA 90015
PYO Gallery, Los Angeles, Seoul, Beijing – Booth 621/720
San Diego Art Institute – Women’s Work
October 2 - November 15
“Women’s Work” is an international exhibition that calls for a re-examination of traditional gender stereotypes. The show includes powerful images evoking and informing psychological experiences of both the artists and viewers. The artists included in this program employ a variety of techniques regarded as traditional and domestic, such as embroidery and crochet, using craft materials to address cultural and gender issues in a complex intersection of artistic practices, popular culture, and aesthetic splendor. A curatorial grant from NYC-based ISE Cultural Foundation was awarded to produce this exhibition
“Women’s Work” is an international exhibition that calls for a re-examination of traditional gender stereotypes. The show includes powerful images evoking and informing psychological experiences of both the artists and viewers. The artists included in this program employ a variety of techniques regarded as traditional and domestic, such as embroidery and crochet, using craft materials to address cultural and gender issues in a complex intersection of artistic practices, popular culture, and aesthetic splendor. A curatorial grant from NYC-based ISE Cultural Foundation was awarded to produce this exhibition
