Open February 15 - March 11, 2018
Weekend Hours 12-6pm // Weekdays By Appointment Only
Phone: (516) 455-6841
Communication is often a complex high wire; how do we understand what is being said?
Expressions become subverted, moods are labile - dictated by cycles and seasons, and previous selves are being shed.
Letters to intimidating forces morph into minimal compositions; evoking moments of curated emotion. Therapeutic light boxes are frankensteined into plush security blankets, which can help with Seasonal Affective Disorder (S.A.D.). The fragile nature of shed snakeskin assists to conjure up the courage to transform and move forward.
These narratives provide an opportunity for the viewer to experience a transference that completes the circuit established by the artists. The work pulls us into a vortex of reflection, simultaneously speaking to each other while creating a meditative environment.
Why You Gotta Be Like That…
One answer is the artists are circumnavigating the current conversation, creating their own.
Utilizing multivalent approaches, Jo Shane’s work references post-war painting, minimalism, abject humor, self promotion, wellness, political platforms, privilege and self improvement to create a potent portrait of the zeitgeist. Often seen through a distinctly autobiographical lens, she posits difficult questions wrapped in visually seductive language. Her fearlessly autobiographical installations create visual scenarios that question our current cultural perceptions.
Her work has been exhibited at Barbara Gladstone Gallery, White Columns, Pera Museum of Art Istanbul, Kunsthalle Fur Bildenkunst/ Berlin, Lever House, The Fireplace Project and AutoBody.
American artist Nicole Nadeau is known for analyzing the process of establishing a ritual and its evolution. Her practice imitates a prescribed ceremony and procedure, with a system of collection and its evolution into the study of variety. Working with materials that are often overlooked and taken for granted, she looks to investigate the unexpected, decomposition and evolution of both material and subject matter. Trained in industrial design, she has studied at Rochester Institute of Technology and Parsons. Her work blends manufactured and natural materials to create installations & sculptures. She implements design language in her art like a tool or material, influenced by the environment of her ancestral craftsmanship.
Dutch artist Marlous Borm's ongoing series Letters are made under the guise of the larger body of work, Conversation Pieces, a reference to the Visconti film of 1974, in which a professor collects 18th century English paintings. These "Conversation Pieces," are informal group portraits in which friends are engaged in genteel conversation, or some other activity, very often outdoors. The phrase “Conversation Piece” later acquired a different meaning: It came to refer to objects that were perceived to be interesting enough to spark conversation about them. They provide a stimulus for prop-based conversation openers and deflected social pro-activeness from people to things.
Marlous deals with her inhibited nature by performing irreverently as a means to assuage her shyness around tension. She has an affinity for "conversation pieces" because they allow her to retreat from awkward situations and become a character in the discourse.