In 2006, artist and educator Brooke Borg was a recent college graduate with a one-way ticket to Barcelona. In 2012, she finally came back to the United States, MFA in hand and fluent in Catalan, ready to continue teaching and creating art in Brooklyn. Her work has been influenced by her travels, her own family and religious background, and the experiences of others that she’s collected and adroitly examined by using drawing, sculpture, and electronic media. Last week, Borg invited Greenpointers to her Calyer Street studio for a preview of her newest works-in-progress about modern love relationships. Continue reading
Black confronts white, movement smacks against immobility and seriousness is sliced with subtle humor. Unlike the familiar idiom, Michael Lee creates opposites that do not necessarily attract one another, but generate a captivating, if uneasy, tension. His use of patterns and collage make for optical illusion that produce visual challenges and seemingly impossible scenarios. The disorientation that results is most definitely intentional.
Speakers, an art show curated by Michael and colleagues, opens Thursday, October 4, 2012, 6 – 9 @ 111 Front St #216 in DUMBO, Brooklyn. Continue reading
Darkened, apocalyptic skies loom over dramatic and desolate landscapes, while human figures, hooded and covered from head to toe in bleach white, toil among scores of mysterious boxes. Something massive is most definitely amiss. The tone of David Pettibone’s paintings is unmistakable; distress and destruction seep off his formidable canvases.
Check out David’s work and that of his studiomate, Allison Maletz (featured here) at Interdependent, this Thursday, September 20th from 7 – 9pm at YASHAR Gallery, located at 276 Greenpoint Ave (between Newel and Jewel), curated by Elizabeth Lamb.
After winding your way up the grey, industrial stairwell of the warehouse building which houses her studio, Allison Maletz’s large-scale, watercolored “Nana” towers over you in warm greeting. A bright teal tracksuit tucks around her comfortable curves while retro shades, now considered a stylish shape, are perched confidently on her nose; a familiar tan purse hangs from one hand while the other casually grips a leg. Perhaps the leg of a deer? It is not entirely clear, but it is undoubtedly disconcerting.
Much of Maletz’s work overtly highlights the familial, familiar and affectionate but dissonant and sometimes vaguely menacing threads are woven throughout her work. The effect is startling and occasionally mesmerizing, especially given Maletz’s technique and approach. Using old and new photographs of friends and family, Maletz revives the insipid, infusing these relatively prosaic images with her own perspective. Her paintings provide fresh interpretations of photographic portraits, which often leave the subjects posing easily or awkwardly but steadily returning the gaze of the viewer. In her iterations, subjects are often depicted against a perfectly white background, allowing the vibrant and mottled aspect of the watercolor, the intricate patterns within neckties, sweaters or camouflage, and the complexity of her facial expressions emerge without competition.
Check out the opening of Maletz’s latest show with her studio mate, David Pettibone, Interdependent, this Thursday, September 20th from 7 – 9pm at YASHAR Gallery, located at 276 Greenpoint Ave (between Newel and Jewel), curated by Elizabeth Lamb. Continue reading
From the gnarled trees of Ithaca’s woods, to the warm, round edges of a Parisian apartment building, to the power plant smokestacks as seen from a Greenpoint warehouse rooftop, neighborhood resident Christopher Schade brings the outside in with a series of “plein air” paintings that he then reinvents in the interior of his studio. The petite and realistic paintings serve as “anchors,” from which larger and boldly reimagined iterations can drift while remaining relatively tethered to original representation of reality.
During a preview visit to his studio this weekend, Schade described his interest in “obstruction as a strategy,” an approach which gives both depth and humor to these traditional landscapes. A tree trunk becomes the focus on a piece, while the compelling majesty of Notre Dame recedes and rests in the background. These unusual and unexpected choices create a rich palate of shapes and shadow that Schade seizes and explores in his larger works. Using the original plein air as a base, Schade’s colorist perspective dominates his central pieces, as he toys with light and dimension, leaving these versions dangling on the edge of abstraction. Matching the central piece to the original plein air becomes something of a game, and a challenging one at that! Continue reading