David Storey

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Artist’s Statement

I make paintings that engage the fluidly permeable boundaries between image and abstraction. Invention, configuration, clarity and the potential energy of color are essential elements to shape a painting that is being made to be uniquely about itself.

Painting is the proper forum for the description of an entire world. It can be an endless, timeless vista that seems to have boundaries yet presents no limits to the possibilities of ever renewing transformation.

Viewing and engaging with a painting is a contract. Once the terms are agreed upon all separations dissolve. The physical laws of here and now are void. Opposites merge. Painting brings us to another mysterious world within our own, collapsing sameness and difference into a universal visual moment.

David Storey is an artist who lives and works in New York. He makes paintings, drawings and prints that compound and condense the interaction between image and abstraction. Collections include the Museum of Modern Art and the Boston Museum of Fine Arts. Fellowships include the Guggenheim Foundation and an NEA individual artist’s fellowship in addition to residencies at Yaddo and the MacDowell Colony. Public art projects include for the MTA, fourteen mosaic murals installed in the 20th Ave. of the N line subway in Brooklyn (2019).

Jeanne Silverthorne

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Artist’s Statement

These recent works continue a 30-year dissection of the studio, which has been variously the mythic residence of the genius and the failure, the haunted house of a former sweatshop, the inside of my head, the enclosing globe of the world, my father’s workshop and now in these new pieces “my mother’s house” (title of a Collette autobiography).

The focus here is on the construction of the uncertain self that operates both in the studio and in the world, with figures that range from infancy to the edge of old age, wherein hints of the monstrous or “unnatural” contrast with the blamelessness of a baby. The perceived duality of a constructed self and a rapturous, dreaming self, of seeming innocence and born knowingness, can be summed up in two quotations: from D.W. Winnicott, famed child psychoanalyst, “There is no such thing as a baby;” and from novelist Clarice Lispector, “And the unfathomable night of dreams began, vast, levitating.”

While there are nods to my own family history, these sculptures remain allusive to specific studio tropes: storage in the form of bubble wrap, packing tape, two-by-four’s, crates, hammers, a dolly, a lamp modeled on an enlargement of a scrap of casting debris, images of exhausted and frustrated labor—all cast in rubber, my chosen material for many decades.

Jeanne Silverthorne is a New York sculptor. Solo exhibitions include the Phillips Collection, Washington, D.C., Whitney Museum of Art, Rocca Paolinea, Perugia, P.S.1, New York, the Institute of Contemporary Art, Philadelphia, the University of Kentucky Museum, career surveys at the Wright Museum, Beloit and Rowan University, a collaboration with Elaine Reichek at the Addison Museum, as well as one-person shows at galleries in New York, Los Angeles, Paris, Verona, Seoul, and Ireland.

Her work is in the collections of the following institutions: Museum of Modern Art, New York, Phillips Collection, Washington, D.C., FNAC (Fondation Nationale d’Art Contemporaine),Denver Museum, Albright KnoxMuseum, Weatherspoon Museum San Francisco Museum of Modern Art, Houston Museum of Fine Arts,RISDI Museum, Boca Raton Museum, Leeum.Samsung Museum, Korea, Sheldon Museum, the Contemporary Museum, Honolulu, Hawaii, Addison Museum of American Art, Whitney Museum of Art.

Articles and reviews have appeared in the New York Times, Artforum, Art in America, Art News, Sculpture Magazine, the Wall Street Journal, the Washington Post, the Brooklyn Rail, among other publications. 

Silverthorne has been the recipient of various awards and grants: a Guggenheim Foundations grant, a Joan Mitchell foundation award, Penny McCall award, Anonymous was a Woman, Civitelli Ranieri Foundation, National Endowment for the Arts.

Soledad Salamé

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—images courtesy of Goya Contemporary and the artist—

Artist’s Statement

 

My art is a conceptual and visual exploration of the intersection of science, technology, and social justice issues defining the age in which we live. Engaged with the political implications of environmental issues, my recent work maps vulnerable marginalized communities suffering the greatest consequences of natural disasters.

Working in glass, silk, and paper effectively extended my visual vocabulary, incorporating textual relief elements to underscore collective negligence regarding climate change, including rapid melting of glaciers and polar ice caps. Climate change has triggered people’s migration from areas affected by rising water and unstable weather. In the USA, Border security policies intensify the social impact of migration, exacerbating unsustainable environmental practices.

Our world is in a constant flux and transformation. The way we communicate our actions’ consequences has been transformed. We once created a tactile object – a newspaper — providing a richly physical interaction made from plant-based paper; today, with the slow death of print media, we interact with world news through digital reporting, easily distorted or manipulated.

I wish to record this change as a call to action to protect both the earth’s precious natural resources and its people, while pointing to the fragile beauty surrounding us. By magnifying the pleasures inherent in natural materials — paper, textiles, and even sand-based glass – my work seeks to remind us of the magnificence and splendor that may be lost if we do not protect the environment.

Soledad Salamé, American, was born in Santiago, Chile in 1954. She currently lives and works
in Baltimore, Maryland, where she directs Sol Print Studio, an experimental space for artists to develop and refine their printmaking skills.

 

From 1973 to 1983 Salamé lived and studied in Venezuela. During this time she was exposed to the rainforest, a pivotal experience in her artistic development. As an interdisciplinary artist, Salamé creates work that originates from extensive research of specific environmental and human rights topics. In the pursuit of new ideas, she has conducted intensive field research in the Americas, and Antarctica.

Her work has been presented at multiple venues, Baltimore Museum of Art, Contemporary Museum, Baltimore, MD. Milwaukee Art Museum, WI; Denver Museum of Art, CO; Miami Art Museum, FL; El Museo Del Barrio, NY; The Women Museum, Washington DC; and the Museo de Bellas Artes, Santiago, Chile.

Salamé’s work is represented in private and public collections internationally, including The National Gallery of Art, Washington DC, The National Museum of Women in the Arts in Washington DC, The Baltimore Museum of Art. Her work is included in The Contemporary Museum, 20 Years, by Irene Hoffman, Latin American Women Artists of the United States, by Robert Henkes and Latin American Art in the Twentieth Century, by Edward J. Sullivan.

Holly Wong

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Artist’s Statement

I create installations, assemblages and works on paper that summon protection and celebrate female energy. Using materials such as colored pencil, drafting film, paint, and candle smoke, I strive to reconnect in myself what has been fragmented. Much of my work is constructed with ephemeral materials that are both strong and fragile simultaneously. Working often within the context of memory and impermanence, I gather images and patterns. I often name my pieces after Goddesses because my work once completed becomes a form of drawing down eternal energy and life force. I am calling upon those forces of protection through the practice of making artwork. Art is my form of magical practice which reveals the sacred in myself.
Holly Wong lives in San Francisco, California. She was educated at the San Francisco Art Institute where she earned a Master of Fine Arts with a concentration in New Genres. Holly creates installations, assemblages and works on paper. She has been awarded visual arts grants from the Integrity: Arts and Culture Association, Barbara Deming Memorial fund, the George Sugarman Foundation, the Puffin Foundation, and a Gerbode Foundation purchase award. She has had over 70 group exhibitions and 10 solo exhibitions. She is represented by SLATE Contemporary Gallery in Oakland, California, and is a member of A.I.R. Gallery in Brooklyn, New York.

Al Wong

 

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Artist’s Statement

 

My work is a visual expression of the interconnectedness of perceived opposites. For the past 50+ years, my work has involved the use of negative and positive space, light, and transparency. I have always been fascinated with the ways in which light and shape are both presence and absence. Past bodies of work bring the foreground and the background planes of the sculpture or installation into one interconnected space.

In essence, my work demonstrates such relationships as light and dark, negative and positive, and emptiness and solidity. These relationships seem to imply difference at first glance, but because they are entirely interdependent, they reflect our interdependent existence. This implies that there is a deeper harmony in our environment that we may often overlook. My approach to art has always been to reveal life’s true nature in the everyday.

Al Wong is a native San Franciscan and has spent the past 50+ years making art in a variety of media. He has shown at exhibition venues such as the New York Museum of Modern Art, the Whitney Museum of American Art, the San Francisco Museum of Modern Art and the UC Berkeley Museum & Pacific Film Archive. His work has toured nationally and internationally including Europe, South America and Japan. In addition, he has received several awards and honors including an NEA Grant in 1983, a Guggenheim Fellowship in 1986, and a Flintridge Foundation Visual Artist Award in 1997.

Robin Croft

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Artist’s Statement

Nothing can be taken for granted. Constant change proves to be the only reliable point of reference. Equilibrium being as fleeting as life itself, one fuses an array of thought fragments retrieved from memories into a drawing of graphite, metal or wood. By doing so, the artist builds a fragile mental world of metaphor that lends meaning to his largely unnoticed visit among the general population.

Among the works shown here, A Taunt Done, eh? is an homage to Duchamp’s “Étant donnés,” which extracts the perspective aspect of his barn door, wall and the distant waterfall, then reverts them to an actual outdoor setting. (The wattle enclosure with window was constructed about 100 yds from the dam’s spillway). Perpetual Notion Machine (aka Sisyphus machine) is from a “Railcar/dolly” series of metaphorical self-portraits embodied by abandoned wheeled vehicles featuring absurd routines, introspective dead ends, malfunctioning equipment and failed objectives: A ball bearing sitting in a receptacle beckons the viewer to insert it in the upper hole, and the unseen ball makes a loud clanging that resembles an idling steam engine as it traverses a staccato path to the lower cup. Perpetual Notion Machine tacitly invites the viewer to attempt to operate manual controls, hit the kill switch, read the solar-powered temperature gauge’s gibberish, and blow or poke a ball bearing (the dilating eye) from one side to the other.

Robin Croft “draws” ephemeral, outdoor sculptures using naturally occurring deadfall, driftwood and stone. His metaphorical images reflect a love of draftsmanship that incorporates autobiographical and formal references. In a sense, the work parallels naïve art by avoiding prevailing trends and building upon rugged drawing guided by intuition. In the studio or outdoors, his forms address tragicomedy, decay, abandonment and homage. Croft’s production of conceptual metal sculptures grew until they filled his home and studio. Lack of storage space prompted making impromptu “drawings-in-the-wild,” essentially translating studio ideas to park, wilderness, river, beach or urban settings.

Jeanne Jaffe


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Artist’s Statement
Inspired by an interest in anthropology, mythology, and psychology, my work explores how identity is forged from early pre-verbal experience through the later influences of language and culture.

In my earlier sculpture, I give concrete form to intangible sensations and barely remembered bodily experiences. This is accomplished by creating hybrid forms of mixed origins of experience – fusions of animate and inanimate worlds, simultaneously familiar yet strange. Body fragments, vegetative processes, and microscopic life fuse, mutate, and morph, and the resulting objects invite recognition while remaining mutable, suggestive, and indeterminate. Visceral experiences of longing, repulsion, fear, loss, curiosity, and discovery are elicited.

In my more recent installations such as “Little Red Riding Hood as a Crime Scene,” “Elegy for Tesla,” and “T.S. Eliot’s Four Quartets,” popular folktales, history, and literature are reimagined through a contemporary lens and made into multi-sensory environments. In these installations, sculpture, videos, interactive elements, and animation create a space for exploring the implications of these known narratives and for reimagining new perspectives.

Most recently I am working on a stop motion animation, “Alice in Dystopia,” a retelling of Lewis Carroll’s Alice in Wonderland. In this version, Alice and the Rabbit fall down the wrong rabbit hole into the contemporary world of 2020, with all of its environmental and societal ills, where the characters must find a way to confront the current crises and offer hope for renewal and change.

In all of my work different signifying systems of image, motion, language, and sound intertwine, highlighting and allowing us to reexamine different aspects of our internal and external experiences, the stories we have been told, and the assumptions we have internalized.

How we navigate multi layered experience, where signification and understanding is being endlessly reshaped, and how we create meaning and self-determination from the cacophony of sensation, memory, myth, and cultural history is the subject of all my work.

Jeanne Jaffe is a multi-disciplinary artist and a frequent visiting artist at Xian Academy of Fine Arts in China who lives in Florida with her husband and parrot Lilly. She is the recipient of grants from the Gottlieb Foundation, Pennsylvania Council on the Arts, NEA, Virginia Groot Foundation, and Mid Atlantic/NEA, among others. Her work has been exhibited at the Pennsylvania Academy of Fine Art Museum, Delaware Art Museum, Michener Art Museum, Royal Scottish Academy of Edinburgh, Seokdang Museum of Art in Korea, and elsewhere. Reviews of her work have appeared in Art in America, The New York Times, and Sculpture Magazine.

Viviane Rombaldi Seppey

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Artist’s Statement

My work is informed by my nomadism between countries, languages and ways of seeing or thinking. My Maps Series in particular explores my identity and heritage through geographical and road maps found in my childhood home after my father’s death. The maps I use are the carrier of my personal and family migrant history. They are the support of my individual experience and of our collective knowledge.

In the artwork, the maps are drawn, cut, painted or assembled to create three-dimensional objects and works on paper. The printed matter that I transform retains its integrity as a public document, while it simultaneously holds fragments of my personal migratory journey. In an age of technology and electronic tools, the maps reflect an in-between world. By examining the tactile quality of paper in the creation of sculptural objects, I explore my own personal displacement experiences and question the inherent transience of the surrounding world.

My work becomes the witness to my migrating life and my interaction with individuals, places, and memory. The long, fastidious, repetitive action of my creative process both physicalizes and metaphorically reflects the time that it takes to integrate into new environments.

Viviane Rombaldi Seppey’s work explores personal and collective understandings of place, and is informed by her migratory upbringing and experiences. Born in Switzerland of Italian descent, Seppey has lived on four continents and is based in New York. Her work incorporates maps, phonebooks, photographs, magazines, and other materials into intricate installations, collages, sculptures, and drawings. She holds an MFA from RMIT Melbourne, Australia, and has exhibited at numerous institutions worldwide, including the Museum of Contemporary Art, North Miami, FL; the Bronx Museum of the Arts, NY; the Hunterdon Art Museum, NJ; and the Art Gallery of New South Wales, Australia. Please visit vivianerombaldi.com for more information.

Helen O’Leary

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Artist’s Statement

Growing up in rural Ireland in the 1960s through 1980s, I often heard my mother talking of the “big house” and the class system that was clearly in place, ending each story with “Their ways weren’t our ways”; later, when my family ran a boarding house, she would dismiss the tourists who stayed with us with the same comment. My childhood was defined by the “if you can’t make it, you can’t have it” Ireland, a place where making things—food, shelter, ornament—and making do were central to both the physical and emotional survival of the family. That reality and the resulting radical attitude to tradition, high-class impurity, and rascality inherent in the Irish culture of that time expressed itself not only in my mother’s words but in the language, literature, people, and music that surrounded me as an adolescent. As a young painter this sensibility naturally carried over into how I looked at the modern masters, and to the questions asked of their conventions and their “ways.” I’ve always been most interested in the modest lyricism of the purely mundane, never feeling abstraction to be the sole province of the heroic and the cerebral. Throughout my career, I have been constructing a very personal and idiomatic formal language based in simple materials and unglamorous gestures, a framework which functions as a kind of syntactical grid of shifting equivalences. The “paintings” that emerge from this process know their family history, a narrative of greatness fallen on hard times. Yet, for all that, they remain remarkably un-defensive, wobbly, presuming no need to disavow the past or defy the present. I work from memoir, stories of growing up on the farm in Wexford and my life now in the States, short stories that I then fashion from the archaeology of my studio. I work the studio as my father worked the farm, with invention out of need, using my own displacement as fodder for meaning. I take things apart, forgetting conventions and reapply my own story to the form. I revel in the history of painting, its rules, its beauty, its techniques, but fold them back into the agricultural language I grew up with. I’m interested in the personal, my own story, and the history of storytelling. My new work delves into my own history as a painter, rooting in the ruins and failures of my own studio for both subject matter and raw material. I have disassembled the wooden structures of previous paintings—the stretchers, panels, and frames—and have cut them back to rudimentary hand-built slabs of wood, glued and patched together, their history of being stapled, splashed with bits of paint, and stapled again to linen clearly evident. The residual marks on the frames, coupled with their internal organization, begin to form a constellation of densities, implying an idiomatic syntax of organic fluctuation where compact spaces coexist with the appearance of gaping holes where the rickety bridges have given way. Formal and structural concerns become inseparable, the slippery organization of their fluctuating grids showing a transparency both literal and historical. With both serenity and abandon, these structures imagine the possibility that painting might take root and find a place to press forward into fertile new terrain. Humorous, enigmatic, these fragments bare their histories as well-worn objects, and in that maintain a certain irrefutable integrity, speaking to both the strengths and frailties ingrained by hard use and the passage of time. What long remained hidden as merely the bones behind the image plane have been exhumed and remade into the tendons and sinews of the image itself. Through the process of deconstruction and reassembly, the pieces invert the conventional anatomical hierarchies of painting in an attempt to find what is fresh and vital among the entrails of the image. The paintings affirm over and over again in elegant fashion the pleasures of a demanding and nonjudgmental yet always self-conscious practice of painting that gives joy to the eye and substance to the spirit. I am interested in painting that would stand up without the usual structures of support. I am looking at my own life, the history of Sean-nós singing in Irish music, Beckett’s pared-down language, and the currency of need found in most houses when I was growing up.

Helen O’ Leary was born in Wexford, Ireland. She attended NCAD and earned a BFA and MFA at the School of the Art Institute of Chicago, IL. She has been honored with the Rome Prize American Academy in Rome, Hennessy Purchase Award, IMMA, Dublin, John Simon Guggenheim Fellowship; two Pollock-Krasner awards; the Joan Mitchell Award for painting and sculpture; and several grants from the Arts Council. She has attended many residencies, including the Culturel Irlandaise, France; the Sam and Adele Golden Residency, NY; Mac Dowell, NY; Skowhegan School of Painting and Sculpture, ME; and Yaddo, NY. Exhibitions include the American Academy of Arts and Letters, NY; The MAC Belfast, Ireland; National Gallery of Art, Ireland; the Glasgow Museum of Art, Scotland; Lesley Heller Gallery, NY; Galerie le Petit Port, Ireland; the Contemporary Arts Centre, Australia; Zolla/Lieberman Gallery, IL; Kerlin Gallery, Ireland; and Fenderesky Gallery, Ireland. She currently lives in Jersey City NJ and Leitrim, Ireland. A new film about her work can be viewed here.

Millicent Young

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Artist’s Statement

Art and Earth define us as human beings. The rupture of connection with either renders us senseless and therefore only brutal. The language of art is sensual. It can stir the heart. It can bypass rational, linear processes. Art can be a transformer. The idea that imagination begets empathy and is awakened by the senses has shaped all that I have attempted as a citizen artist.

Through my work, I am interested in building a vocabulary that will one day tell a new story: a new mythology that restores mystery, beauty, silence, and imagination as central to our co-existence. My visual language favors archetype and allusion. Like dreams, it is a code simultaneously familiar, layered, and elusive. The Koan, a Buddhist teaching tool that takes the form of a paradoxical question, is another model for my work. Insight follows contemplation and the willingness to lose what one knows.

The materials I use are both substance and symbol. As substance they are ordinary, simple, and sometimes found yet within them, there is beauty. As symbols, they do not comfortably stand for one thing. On the scent of something large, they dodge the straight line of equation. The exacting repetitive gestures associated with the crafting of much of my work make the process a meditation; however, the parallel thought flow, or its absence, that accompanies these gestures also infuses the work.

The record of time is evident though silent in my work. Slowly taking form through accretion, thousands of horsehairs are individually threaded through hundreds of holes drilled in vines or tiny dowels. In the White Luminous Room, each of the 1500 ten foot long strands are made by tying and gluing tiny bundles of hair to a long thread. The liquidity of plaster is recorded in its hard celestial surface. The flow of ink is remembered by the contraction of the washi paper in the drying. Every ring of ink on each of the 80 hammered lead pans is a record of the evaporation of that single pool — concentrated, diluted, rinsed, repeated — until the right mark is made.

The Anthropocene is now — the first epoch defined by the impact of one species — ours — on the planet and all the systems that have spawned and supported what we have named “life.” The Cantos are my witness and meditations on now.

Millicent Young was born in New York City in 1958 and attended Dalton School. Shortly after receiving her MFA from James Madison University, she received her first of two Professional Fellowship Awards from the Virginia Museum of Fine Arts. Exhibiting widely, her work has been recognized by curators and directors from institutions including DIA, New Museum, and Whitney Museum. Young’s work received a top award at the 2005 Biennale in Florence, Italy. Her upcoming solo at Les Yeux du Monde in Virginia is Cantos for the Anthropocene. She resides in the Hudson Valley of New York.