CYNTHIA-REEVES

1315 MASS MoCA Way

MA 01247 North Adams

United States

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URL : www.cynthia-reeves.com

The Barn at 28 Main

PO Box 788

NH 03608 Walpole

United States

Phone :

Fax :

Mobile Ph. :

URL : www.cynthia-reeves.com

Azariah Aker   ()

Kristen Jussila   ()

Anne Lawson   ()

Sara Mintz   ()

Cynthia Reeves   ()

About

CYNTHIA-REEVES represents an international roster of established artists who share a process-apparent sensibility in their work. We are committed to artwork that demonstrates an authentic voice, an innovative use of materials, and an appreciation of the mark in diverse media: site-based installation, video, sculpture, painting and works on paper.

We are committed to an on-going dialog with international institutions, curators and collectors – this outreach has generated a strong roster of museum exhibitions, public art programs, and permanent site-based installations worldwide. The gallery regularly exhibits at leading contemporary art fairs in key cities throughout the world.

Blue Bender -  Lloyd Martin

Lloyd Martin Blue Bender

Salinas - whole day sequence -  George Kuttinger

George Kuttinger Salinas - whole day sequence

Perhaps Strike Up the Band - Doug Trump

Doug Trump Perhaps Strike Up the Band

Exhibiting Artists

  • Gabriele cappelli  (+)

    Biography : Gabriele Cappelli is a London-based mid-career artist born in Forlì, Italy in 1972. Cappelli discovered art at a very young age -- his grandfather was an architect and designer who inspired his passion for abstract art, and his uncle was the art critic Mario Verdone. Together, they introduced him to technical and theoretical art issues. His frequent trips to Rome as a child allowed him to spend time with his grandfather and fellow artists, and begin an inquiry that is still at the center of his practice. The artist writes: “I’ve always been close to the arts. Growing up in Italy I’ve always been surrounded by beautiful antiquities. Despite studying economics, when I moved to London in 1997, I decided to paint full-time. My goal was to create contemporary paintings that would celebrate all those colors and textures I remember from those Roman antiquities – a way to realize those most unique colors.”Cappelli is a painter in the modernist tradition, evoking a European sensibility and a reverence for beauty. His selective use of a soft, tonal spectrum make his paintings quite generous, perhaps due to his unabashed, yet sophisticated, celebration of color.

    Also exhibited by:

    Also represented by:

  • Shen Chen  (+)

    Biography : HIGHLIGHTS Singer Museum of Art, Singer Laren, Netherlands Queens Museum of Art, Queens, NY Museum of Modert Art, Shanghai, China Museum of Chinese in America, New York Fortune 500 Company, Charlotte, NC, commission Overlaying of strokes is an action of negating. I cover the paint with paint in order for a painting to dissolve the painting itself. Such dissolution is a long process that involves time and order, stretching from the beginning to the end. Through the very intimate process of ‘stroke-laying’, the artist thereby enters a void and dismisses all thinking. Such reflection of the inner spirit is a poem of a stream of consciousness. The strokes as artworks are but the remainder of the process and the trace of time and spirit. –Shen ChenShen Chen’s meticulous layering of color belies a rigorous discipline grounded in a meditation on breath. To create his subtle ombré surfaces, Chen works with the canvas on the studio floor. He layers the paint in precisely calibrated vertical brushstrokes; the discrete horizontal lines visible on the surface are a record of where each brushstroke – and attendant breath – ends. Of the latest body of work and his studio practice in general, American art critic Robert Morgan, who has studied Chen’s work for a decade, writes in the artist’s catalogue:In contrast to other important Chinese artists living or who have lived in New York, Chen functions solely as a painter. He is very clear about his position. He is committed to painting as a form that gives him space and time to do what he wants and to express what he needs (without necessarily being expressive)...He is...intent on working with the surface, using acrylic paint the way he was trained to use ink. (Robert C. Morgan, Paintings in Memory of Time and Infinity, 2014.)

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  • Alisa Dworsky  (+)

    Biography : HIGHLIGHTS Vermont Arts Council Grant Berkshire Taconic Foundation Grant Sustainable Arts Foundation Grant Yaddo Residency Fellowship MA from Yale University Alisa Dworsky is an artist and architectural designer whose work includes sculpture, installations, buildings, drawings and prints. With a cross-disciplinary approach, she allows her work in one discipline to influence her work in another. She is interested in how structure and force give shape to form, and how we use geometric systems to order our environments. Her drawings are inspired by movement and rhythms imparted by textiles, agricultural patterns, computer drawings, topographical maps, and architecture, and they begin the inquiry that ultimately becomes larger sculptural forms. Dworsky was awarded a Yaddo residency fellowship for winter 2015. She has received six grants from the Vermont Arts Council, four grants from the Vermont Community Foundation, and grants from the Berkshire Taconic Foundation and the Sustainable Arts Foundation. She earned a Masters in Architecture from Yale and a BA from Stanford in both Studio Art and International Relations. She is cofounder of the architectural design firm, Terra Firma Inc. (now DS Architects), with her husband Danny Sagan. Dworsky has taught architecture and art at Norwich University, Stanford University, The Yale Graduate School of Architecture, Ball State University and the Yestermorrow Design-Build School.

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  • George Kuttinger  (+)

    Biography : Influenced by his architectural education Georg Kuettinger (*1972, Munich) is reflecting landscape imagery and its perception in his photoworks. Similar to the art of creating music the title of the series “landscapes:remixed” describes the technique as well as the subject. Combining simultaneities, rhythms and overlaps he is editing and compressing images as possibilities of landscapes. The project "landscapes:remixed" is an examination of perception, structure, rhythm, density of space and time, horizons and - above all - stories of landscapes. The stories of these landscapes are written by the constant change of its shapes and looks, created by the melting of human impact with the formerly existing nature as well as the changes of colors, time, seasons and light. His large-format works are not mere depictions of an existing landscape but conceived as a dynamic panorama. After working out the idea of a new work through preliminary studies and sketches, the single photos - taken from different points of view according to the idea - are given a new (and its own) context in the concept and the structure of the image. An image is not understood as an isolated or static moment but part of the overall design and structure of the artwork. These images are created analogously to the permanent change of the context as well as the selective perception by the observer and the thus impressed memory, creating a complex web of perspectives and overlaps. The perspectives are stretched, shifted and compressed – remixed – by dissolving the confines of a static space/time model while blurring the boundaries of the reality of the places the single images are taken from and their possible perceptions. His work has been shown internationally in Germany, United States, Italy, The Netherlands, Belgium, Canada, Denmark, South Korea, Switzerland and else. Kuettinger is also being presented at contemporary art fairs in New York, Miami, Paris, Basel, London, Toronto, Amsterdam, Z

    Artist's Objects:

    •  George Kuttinger - Salinas - whole day sequence Salinas - whole day sequence

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  • Lloyd Martin  (+)

    Biography : American artist Lloyd Martin, known internationally for his rhythmically constructed abstract painting, continues his engagement with color and line in this outstanding body of work. Critic John Goodman wrote that Martin’s paintings “achieve a Mondrianesque climax of rhythm.” And it is this sense of movement, of rhythm, of flow that delights the eye as it is drawn along the forms and juxtapositions of bright-hued lush colors that are characteristic of the artist’s recent work. In critic Maureen Mullarkey’s words, Martin’s paintings “approach the character of music.” Writers often reference Mondrian and music when describing Martin’s work. In these paintings, each note holds its own, yet there is a velocity of linear movement. Martin’s work is characterized by a sensuous quality in the sometimes-brushy aggression of one vibrant color pushing against another. For the viewer there is a visual pleasure in editing details of the work, allowing the eye to settle on a square here a rectangle there and imagining paintings within paintings. Martin has for a long time explored the architectural environment around his studio and his paintings reveal a framework and structure that reference architecture. Although clearly abstract, Martin’s paintings are still grounded in the real world. And this architectural structure gives the work a sense of gravity, giving weight to his flights of vibrant color. The painter’s gifted handling of paint and color and his visceral love for the medium are evidenced in the remarkable variety within a work. Martin has always sought a pictorial truth and his intense engagement with the challenge and problem solving of abstract work is palpable. There is a kind of joy in the result that is communicated to the viewer with an engaging immediacy. Lloyd Martin is a graduate of the Rhode Island School of Design. The art world press has often covered his work and he has been the recipient of many fellowships in painting as wel

    Exhibition : SELECT SOLO EXHIBITIONS
    2015 “Interval” Stux+Haller Gallery, New York, NY
    2013 Lloyd Martin “works on Paper”, Roshkowska Galleries Hudson, NY
    Lloyd Martin: Strata, Stephen Haller Gallery, New York, NY
    2012 Mettere, Stephen Haller Gallery, New York, NY
    2011 Interstices, Stephen Haller Gallery, New York, NY
    2010 Shift, Stephen Haller Gallery, New York, NY
    2008 Traverse, Stephen Haller Gallery, New York, NY
    2007 EM Bannister Gallery, RI College, Providence, RI
    Tracts, Stephen Haller Gallery, New York, NY
    Roshkowska Gallery, Windham, NY
    2006 Finestrae, Stephen Haller Gallery, New York, NY (Catalogue)
    2005 Spheris Gallery, Walpole, NH
    Stephen Haller Gallery, New York, NY
    Works on Paper, Roshkowska Gallery, Windham, NY
    2004 Lloyd Martin Migrate, Lenore Gray Gallery, Providence, RI
    Lloyd Martin Paintings, Spheris Gallery, Bellows Falls, VT
    Roshkowska Gallery, Windham, NY
    2003 Stephen Haller Gallery, New York, NY
    Roshkowska Gallery, Windham, NY
    2002 Stephen Haller Gallery, New York, NY
    Lloyd Martin Paintings, Urban Shelter, Pawtucket, RI
    Spheris Gallery, Walpole, NH
    Abstract Events 2, Lenore Gray Gallery, Providence, RI
    2001 Stephen Haller Gallery, New York, NY
    2000 Abstract Events, Lenore Gray Gallery, Providence, RI
    1998 Lenore Gray Gallery, Providence, RI
    1997 Trustman Gallery, Boston, MA
    1993 Hunt Cavanaugh Gallery, Providence, RI
    1991 Gallery One, School One, Providence, RI
    1985 AS220 Gallery, Providence, RI
    1981 Community College of Rhode Island, Warwick, RI

    SELECT GROUP EXHIBITIONS
    2015 “Group Matrix” Stux+Haller New York,NY
    2013 The Geometry of Longing
    Stephen Haller Gallery, New York, NY
    2012 Concurrence, Stephen Haller Gallery, New York, NY
    Paper Rocks Scissors, Stephen Haller Gallery, New York, NY
    2011 Connections, Stephen Haller Gallery, New York, NY
    A Collections Exhibition: Montford and Bannister, Bannister Gallery, Rhode Island College, Providence, RI
    Spectrum, Stephen Haller Gallery, New York, NY Ten from Ten the Director’s Cut
    Grimshaw-Gudewi

    Artist's Documents:

    Artist's Objects:

    •  Lloyd Martin - Blue Bender Blue Bender

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  • Doug Trump  (+)

    Biography : HIGHLIGHTS Chrystler Museum, Norfolk, VA Mead Art Museum, Amherst, MA Brattleboro Museum and Art Center, VT Florence Griswold Museum, CT Vermont Institute for Contemporary Art, Chester Trump consistently pursues a unique visual language, combining quick, gestural marks with broad swaths of paint, continuously layering and, at times, sanding back into those layers which creates an archeological quality to the works. The strength of his composition is derived from an association with architectural and landscape elements, as well as the figure: clear horizontals and verticals, intentionally broken by definitive brushwork. Because the strong frameworks of these compositions are interrupted, there is always a portal through which the viewer can tease out his own narrative - a jazz-like storyline that underpins every painting. Trump’s working methodology is indeed a ‘call and response’, whereby the history of marks and gestures compel an artful reply. Trump is the willing respondent, addressing and readdressing the surfaces over time, until the visual activities have settled into a cogent, natural conversation. It is a wonderful thing to enter into -- to become part of that exchange.It is through his spontaneous yet measured approach that Trump imbeds his paintings with vitality. Given the inevitable dialog that develops over time, these paintings contain agitation and friction that serve their compositions well, and the viewer is provided ample room to receive their kinetic energy. This current exhibit features outstanding recent works that emphasize negative spaces bracketed by suggestions of boundary, and which employ a quiet use of color. Happily, the show also includes a number of his diminutive works on paper, a format that Trump has explored throughout his painting life. This grouping is a trove of compositional riffs in a rich palette that is a delight to explore.

    Artist's Objects:

    • Doug Trump - Perhaps Strike Up the Band Perhaps Strike Up the Band

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Other Represented Artists

  • Lainghong Feng  (+)

    Biography : Lianghong Feng has no concept before starting to work. His paintings result out of the process of painting, out of a dialogue between the artist and the canvas. It is a spontaneous dialogue with questions and answers or a conversation, with beautiful poetic elements: a conversation between poets. Similar to what Gerhard Richter said, “my paintings are smarter than me”, Feng is not considering himself superior towards his works. Their reaction and the result on the canvas is every time an experiment, sometimes a surprise for him. –Alexandra Grimmer, translated by Zheng Yuantao For twenty years, the dual influences of East and West have manifested in Lianghong Feng’s luscious abstract canvases. His techniques of daubing and splashing paint are the vehicle through which these two disparate traditions are resolved. These dynamic, abstract paintings draw from his cultural roots, including the legacy of Chinese calligraphy. After a decade residence in New York City, in the 1990s, Feng began distorting the shapes of the urbanscape, in direct reaction to the prevalent graffiti he saw in Brooklyn. This inspired a non-cultural and “irrational” form of painting. He wrote: “I must avoid my pre-existing knowledge and constructs, and enter my personal terra incognita.” While Feng often allows his work on a painting to develop organically and intuitively, he is constantly looking for the “images”, or what he terms the different visual elements of his work, and to elaborate relationships among them. This is part of his process of finding the painting’s artistic perspective, harmony. Lianghong Feng was recently the subject of a major mid-career retrospective at Beijing’s Inside Out Museum (2011) and the White Box Museum of Art (2013), where his paintings amassed three full floors of exhibition space. Considered one of China’s leading contemporary voices in Abstract Expressionism, his studio is located in the prestigious 798 Art District in Beijing, and h

    Exhibition : SELECT SOLO EXHIBITIONS 2014 Lianghong Feng, CYNTHIA-REEVES @ Independent Art Projects, North Adams, MA 2013 Lianghong Feng, Abstract Paintings, Inside-Out Art Museum, Beijing 2012 Lianghong Feng, CYNTHIA-REEVES New England, Hanover, NH 2011 Feng Lianghong: Recent Abstract Works, Matthias Kuper Gallery, Beijing, China, curated by Martina Ziesse, It Is Not The Eternal Tao: Abstract Paintings of Feng Lianghong, White Box Museum of Art, Beijing, China, curated by Gu Zhenqing, 2009 Lianghong Feng, CYNTHIA-REEVES, Chelsea, NY 2007 Lianghong Feng’s Recent Work, TRA Gallery, Beijing, China 1997 Beyond Calligraphy & Graffiti, Gallery 456 New York, NY SELECT GROUP EXHIBITIONS 2016 The Research Exhibition of Abstract Art in China, Today Art Museum, Beijing, China, coorganized by the National Research Exhibition of Abstract Art in China, the Chinese National Academy of Art, and the Today Art Museum. 2015 Beyond Form: An Exhibition of Abstract Art in China, Epoch Art Museum, Wenzhou Before It All Start, in Shanghai Gallery, Shanghai ART 021 Shanghai Contemporary Art Fair Art Collection of National Centre for the Performing Arts, Beijing West Bund ART & Design, Shanghai CIGE, Beijing Renaissance of Immortality, Contemporary Art from China Museum, Vienna, Austria Swatch Faces, Venice Biennale 2015, Italy Subject of Color, Permanent Collection at Inside-out Museum, Beijing Abstract Art Exhibition of Themes, Biaszza New Vision, Beijing ART Central Hong Kong, Hong Kong, China Art Miami, CYNTHIA-REEVES, Miami, FL 2014 Face & Traces, The Swatch Art Center, Shanghai Just as money is the paper, the gallery is the room, Osage Gallery, Shanghai Draw: Mapping Madness, Inside-out Art Museum, Beijing Tsinghua Art Group, National Theatre Gallery, Beijing Art14, CYNTHIA-REEVES, London, UK Downtown Fair, CYNTHIA-REEVES, New York, NY Art Miami, CYNTHIA-REEVES, Miami, FL 2013 Being Entangled with Paper, Stay Gallery, Beijing Essence, Ying Gallery, Beijing Shuffling the Cards: The 2nd Round Chi

    Artist's Documents:

  • Beth Ganz  (+)

    Biography : Beth Ganz’s new work is a response to her ongoing inquiry into topography, line, and the shapes that arise from the interstitial spaces. Her reliefs are depicted in both the negative and positive, in all the various techniques she employs: gravures, photography, line drawing, montage. A recent series of hand-painted maps interjects an element of historical exploration, and emphasizes the flux between the surface of the image and the photograph’s illusory depth. Each of her works is an invitation to a historical legacy, offering a window onto another world. Her images are both supported and disrupted by the play between negative and positive, surface and depth, landscape image and map-like painted detail. Her use of the fragile kozo paper in conjunction with the weight and mass of the topographies serves the artist’s intent well: the collaged reverse imagery becomes a finely honed dance of mirror image shapes. Ganz has had several solo exhibitions in New York and through out the United States; her prints have been included in many group shows in the United States, England, Europe, and India, a country and a landscape that has become her muse and touchstone for the past decade. Beth Ganz was born in Jersey City, New Jersey. She received her BFA from Pratt Institute where she graduated with honors. For over 35 years, she has lived and worked in New York City. Her practice incorporates painting, printmaking, photography and collage. She is a long time member of the Elizabeth Foundation for the Arts and is an instructor at Manhattan Graphics Center where she teaches photogravure and other intaglio methods.

    Exhibition : SELECT SOLO AND TWO PERSON EXHIBITIONS 2015 Beth Ganz, Grids, New Painting And Prints, CYNTHIA-REEVES, The Barn, Walpole, NH 2010 Beth Ganz And Jerry Eisenberg, Spheris Gallery, Hanover, NH 2009 Beth Ganz And Jaehyo Lee, Spheris Gallery, Hanover, NH 2007 Geothermal Topographies, Reeves Contemporary, New York City, NY Beth Ganz, Spheris Gallery, Hanover, NH 2006 High Latitude, Afp Gallery, New York City, NY 2004 Recent Work: Photogravure And Collage, Manhattan Graphic Center, New York City, NY SELECT GROUP EXHIBITIONS 2016 Celebrating Print, Bnh Gallery, Dec 7- Jan 13, New York City, NY 2015 Art Miami, Cynthia-Reeves Projects, Miami, Florida, Dec Enchanted Landscapes, German Romantic And Contemporary Prints, The Curator Gallery, New York City, NY And So It Grows, MGC Gallery, New York City, NY 2014 Hilton Head Health, Hilton Head, SC Big Picture Show, 1285 Avenue of the Americas Gallery, UBS/ICPNY, New York City, NY Gravure Contemporaine, Gallerie Brun Leglise, Paris, France 2013 Unbounded, Hollar Gallery, Prague, Czech Republic Art Southampton, Cynthia-Reeves Booth, South Hampton, NY Working It Out, The Painting Center, New York City, NY Connectivity, McColl Center, Charlotte, NC New Delhi/New York, 4 Artists from New York, Delhi, India 2012 Instructors At Manhattan Graphics Center, New York City, NY Confrence Of The Birds, Mana Contemporary, Newark, NJ New Prints – Winter, IPCNY, New York City, NY Multiple Encounters 2, Lalit Kala Akademi, Delhi, India 2011 Art Miami, CYNTHIA-REEVES PROJECTS Think, Boston Printmakers, Boston, MA 9/11, The Siren’s Song Gallery, Greenport, NY 9/11 Portfolio, Prints from Manhattan Graphics Center, Otterbein University Gallery, Westerville, OH San Fransisco Art Mart, Cynthia-Reeves Projects Groundwork, Storefront Gallery, Brooklyn, NY 2010 Selected Artist - Efa Studios, Elizabeth Foundation for the Arts, New York City, NY Think, Boston Printmakers Members Show, Zullo Gallery, Medfield, MA Out Of The Dark, Manhattan Graphics Center

  • Shona Macdonald

    Biography : Shona Macdonald received her MFA in 1996 in studio arts from the University of Illinois at Chicago and her BFA in 1992 from Glasgow School of Art in Scotland. She has had selected solo shows at Ebersmoore, Chicago, (2012), the Roswell Art Museum, Roswell, NM, (2011), Engine Room, Wellington, New Zealand, (2010), Proof Gallery, Boston, MA (2009), Reeves Contemporary, NY, NY (2008), Den Contemporary, LA, CA, (2007), Skestos-Gabriele, Chicago IL, (2005), Galerie Refugium, Berlin, Germany, (2002), and Fassbender Gallery, Chicago (1998 and 2000). She has shown in numerous group shows. Her work has been reviewed in Art in America, Art News, the LA Times, Chicago Tribune, Chicago Sun Times, Sacramento Bee and New American Paintings. She has been a Visiting Artist at over forty institutions, including Wimbledon College of Art, London, (1998), Georgia State University, Atlanta, (2007), Cornell University (2006), the University of Alberta, and the University of Calgary, Canada, (2002). Shona Macdonald was the recipient of a grant from the Pollock-Krasner Foundation, NY, (2009), a Fellow at Roswell Artist-in-Residence in Roswell, New Mexico, (2010-11), Can Serrat, Barcelona, Spain, (2012), and the Cromarty Arts Trust in Scotland. She is a Professor of Studio Art and Graduate Program Director at the University of Massachusetts Amherst.

  • Gudrun Mertes-Frady  (+)

    Biography : Gudrun Mertes-Frady has exhibited in museums and institutions around the world including the travel exhibition Here is New York, Museum of Modern Art, New York, NY and Corcoran Gallery, Washington, DC (2002); NY Painting, Artspace, New York, NY (1992) and Selection 47, NY, The Drawing Center, New York, NY (1989). She is represented by galleries in the States and Europe and is found in the permanent collections of The Busch Reisinger Museum, Harvard University, Cambridge, MA, the Art in Embassies Permanent Collection US Consulate, Dubai, UAE, Rockefeller University, New York, NY, and in the permanent collection of the Universal Music Collection in London, UK, among others. Gudrun Mertes-Frady was born in Cologne Germany, where she studied at the Academy for Art and Design. She lives and works in Brooklyn, New York.

    Exhibition : SELECT SOLO EXHIBITIONS 2016 Markel Fine Arts, New York, NY 2015 Cynthia Reeves, MASS MoCA Way, North Adams, MA 2014 Michael Trierweiler Contemporary Art, Weimar, Germany 2013 Mark Wolf Contemporary, San Francisco, CA 2010 Piquion+Trierweiler, Weimar, Germany ART Karlsruhe, Karlsruhe, Germany 2009 Maud Piquion, Berlin, Germany Cynthia-Reeves, New York, NY 2007 Reeves-Contemporary, New York, NY Spheris Gallery, Hanover, NH 2005 Reeves-Contemporary, New York, NY 2003 Rosenberg + Kaufman Fine Art, New York, NY 2002 Rosenberg + Kaufman Fine Art, New York, NY 2000 Rosenberg + Kaufman Fine Art, New York, NY 1999 Rosenberg + Kaufman Fine Art, New York, NY 1997 Rosenberg + Kaufman Fine Art, New York, NY 1995 Rosenberg + Kaufman Fine Art, New York, NY 1994 Stephen Rosenberg Gallery, New York, NY 1992 Stephen Rosenberg Gallery, New York, NY 1991 Galerie Lommel, Cologne-Leverkusen, Germany SELECT GROUP EXHIBITIONS 2016 “Transformation and Renewal”, Art in Embassies, Bandar Seri Begawan, Brunei Sideshow Nation III, Sideshow Gallery, Brooklyn, NY 2015 August Geometry, Maria Wood Gallery, Atlanta, GA Art in Embassies, Bandar Seri Begawan, Brunei Sideshow Nation III, Sideshow Gallery, Brooklyn, NY Paperazzi, Janet Kurnatowski Gallery, Brooklyn, NY 2014 Paper Show, Janet Kurnatowski Gallery, Brooklyn, NY Sideshow Nation II, Sideshow Gallery, Brooklyn, NY 2013 Sideshow Nation, Sideshow Gallery, Brooklyn, NY 2012 Paper Bands, Jason MCCoy Gallery, New York, NY Kentler International Drawing Space, Brooklyn, NY Mic : Check, Sideshow Gallery, Brooklyn, NY 2011 Mark Wolf Contemporary, San Francisco, CA Divergent Affinities, Wexler Gallery, Philadelphia, PA, curated by Barbara Harberger 2008 Nuture Art Benefit, curated by Lilly Wei, James Cohan Gallery, New York, NY Small Works Show, 80 Washington Square Galleries, New York, NY 2007 Reeves-Contemporary, New York, NY 2005 Spheris Gallery, Hanover, NH 2003 A Common Thread, Hennepin County Government Center, Saint Paul, MN 2002 Here is

    Detailed Description : Having appeared in various guises throughout Gudrun Mertes-Frady’s career, the grid has become her muse – By bringing the bold matrix and subtle background together, Mertes-Frady succeeds in creating a new dimension that makes each work ebb and flow. (Constance Wynham, ARTnews, 2006). Gudrun Mertes-Frady’s grounding principals are clarity and structure, pared down to essential forms. As a timeless organizing principle, geometry is consistently the underlying matrix or architecture. From that matrix, she bends the lines to create a spatial reference all her own, teasing apart the structure of her paintings. This quasi-symmetry is served well by her attention to the surfaces. Some are quite matte and austere — the better to highlight the precise curved lines of the spaces she defines with such authority. Others have a rich and luscious surface, which create a layering of soft, open spaces behind the curvilinear marks. It is a beautiful foil, these deftly rendered contained spaces laid over a soft, undulating chromatic field. Mertes-Frady has long incorporated metallic pigments, like aluminum and graphite, into her oils on canvas, as well as works on mylar and paper. Mica particles mixed in with the oil and pigments enhance that reflectivity, and shift one’s perception of the painting’s coloration as light moves across its surface. This is a deft way of challenging further her symmetries, as light plays tricks with the changing color aspects of the painting. Mertes-Frady writes: I’m very interested to explore physical fact and psychic affect of color and form with this process. I work toward the instant the painting has its own center, its own logic, physically and intellectually. Most of all I want my work to be about deceleration, in the spirit of the works by Olafur Eliasson and the Swiss architect Peter Zumthor, as a counterpoint to the ever accelerating whirl of our time, in which our lives seem trapped. And there is one more thing of importance

  • Mabel Poblet  (+)

    Biography : Mabel Poblet Pujol was born in Cienfuegos in 1986. She graduated from the Higher Institute of Arts and the San Alejandro Academy of Fine Arts. Mabel has also taken part in the Behavioral Art Workshop directed by Cuban artist Tania Bruguera. In 2005, she was awarded the Prize of the Jury at the Provincial Salon of Visual Arts (Cienfuegos, Cuba) and the Prize of the Provincial Council of Visual Arts at the Salon 5 de Septiembre (Cienfuegos, Cuba). Her solo exhibitions and presentations include Recent Works: The Cuban Art Space (Center for Cuban Studies, New York, 2011); Inventario (Ludwig Foundation of Cuba, Havana, 2010); and Un sueño real (Fototeca de Cuba, Havana, 2009). Other group exhibitions in which her work has been exposed are 50 en los 50: Homage to the 50th Anniversary of the National Union of Artists and Writers (La Acacia Gallery, Havana, 2011); Saber tirar y tirar bien (Gallery Villa Manuela, La Habana, 2011); and Cuban Women Artists (Center for Cuban Studies, New York, 2010).

    Exhibition : SELECT SOLO EXHIBITIONS 2016 POP GOES THE WORLD. Saltfineart latin contemporary + raw salt gallery. Los Angeles, USA 2016 Mabel Poblet. The Studio of Key West & Gallery on Greene. Key West. USA 2015 Madeja. Hank. During CHACO 2015. CO Galería. Santiago de Chile. Chile Patria . Homeland. Collateral to the 12th Havana Biennial Villa Manuela Gallery. Havana, Cuba 2013 Reverso. Tomas y Valiente Art Center, CEART, Madrid Marea Alta. Collateral to the 12th Havana Biennial Biennial. Morro-Cabaña. Havana, Cuba. 2014 Reverso. Reverse, ArtLima. Co Gallery, Chile. Lima, Perú Desapariencia. Enlace Arte Contemporáneo Gallery, Lima Situación Límite. Raquel Ponce Gallery, Madrid 2012 Reunificación Familiar. Collateral to the Eleventh Havana Biennial, San Carlos de La Cabaña Fortress Hoy mi voz tiene sonido. Villa Manuela Gallery, Havana 2011 De tus ojos la sal. Nuno Sacramento Gallery, Ílhavo, Portugal Recent Works. The Cuban Art Space, Center for Cuban Studies, New York 2010 Inventario. Ludwig Foundation, Havana 2009 Un Sueño Real. Fototeca de Cuba, Havana 2008 Mirando A dentro. The Cuban Art Space, Center for Cuban Studies, New York 2007 Ábacos. Centro Cultural Cinematográfico ICAIC Gallery, Havana 2006 Works on Paper and Sculpture. The Cuban Art Space, Center for Cuban Studies, New York Lugar de Origen. José A. Díaz Peláez Gallery, Academia Nacional de Bellas Artes San Alejandro, Havana SELECT GROUP EXHIBITIONS 2016 SP Arte 2016. Collage Habana-Galería-Arte LTDA. Sao Paulo. Brasil THE MOTHER OF ALL ARTS. La madre de todas las Artes. Contemporary Art Center Wifredo Lam. Reflejos. Reflections. Jad Perera Gallery. Sri Lanka Reflexiones Proyecto Elemental · La Habana 2015. Galería Odalys. Madrid. España 2015 ART/XIOMAS Centro Cultural Español de Miami (CCEMiami) USA Artceleration. Art Basel Miami 2015 Macaya Gallery. Miami. USA Premio Maretti III Edición. Marretti Prize 3rd Edition .Centro de Artes Visuales. La Habana. Cuba Asamblea Assembly. Galería Taller Go

    Detailed Description : My work is based on self-referential experiences of my past life and the impacts that have these memories, which turned into works, determine my present. I allude to intimate acts as well as others that are the result of the relationships that people have with me. The first series I started working is called Lugar de origen / Place of Origin where I use pictures and real objects that have been involved, somehow, in my life. Memories are one of the resources used by the man in the formation of their identity, so, this series is like a return to those places of childhood. Formally, I reproduce images of the past to construct a sequence of events that typify the present, and they are not necessarily identical to the serial figure. In these portraits and self-portraits I interrelate past referents, perpetuating them in present time. You can also recognize some references of my daily life and my spiritual world. I am interested in the ability of the mind to violate the laws of physics, and the multidimensional possibility of mental time (as any object, the human mind can also move, diffuse and fragment), that’s why in the Ábacos / Abacus series I use its formal structure and take it out of context, in order to show events, current only in the memory. The abacus has been used for thousands of years in Eastern cultures as a tool for counting and calculating, that’s the reason I link it with time. I use the reiteration to reconstruct events through the recovery of images that have been deleted from the memory because of the course of time. The act of running time becomes one of the protagonists of the work, gathering memories and forgetfulness in the same feeling. Imagen no palabra / Image no word is an analogy between the represented image and the information that will not be displayed, from the communication experience between persons and the expressive effectiveness of a text or an image. These portraits are made up of letters and texts that have no literary sens