TRANSMOGRIFICATION

TRANSMOGRIFICATION

curated by Tun Myaing and Panos Papamichael

at 2320 Jackson Ave, L.I.C., NY

Opening reception: Wednesday, June 21 2017  6:30-9:30pm

Open to the public: Sundays (6/25, 7/2)  1pm-4pm  and Wednesdays 6/28 & 7/5  5pm-8pm.  Otherwise, open by appointment

Closing reception: Saturday, July 8, 2017 12 noon-3pm

Contact: Tun Myaing myaingprojects@gmail.com,  Panos Papamichael  papamichael@gmail.com

 

 

 

 

LOVED AND OBSERVED

curated by Diana Corvelle and  Manu Saluja
at Hersh Fine Arts, June 21st – August 12th, 2014
read press release
review by Angela Gram in Quantum Arts Review: “Loved and Observed: Women in Portraiture”
article by Jeffrey Carlson in Fine Arts Connoisseur: “Loved and Observed”



Hersh Fine Art, of the Long Island Academy of Fine Art, is pleased to announce Loved and Observed, a group exhibition of portraits by twenty-three artists, curated by Diana Corvelle and Manu Saluja. Loved and Observed will be on view from June 21 until August 12, 2014. The artists will be present for an opening on Saturday, June 28 from 6-8pm.

Artists Corvelle and Saluja bring together a dynamic collection of classically trained women whose approach to portraiture ranges from delicate to bold, traditional to nonconformist. Participating artists are Elizabeth Adams-Jones, Erin Anderson, Juliette Aristides, Julie Elizabeth Brady, Aleah Chapin, Diana Corvelle, Michelle Doll, Alia El-Bermani, Alexandra Evans, Shauna Finn, Nanette Fluhr, Nanci France-Vaz, Kristy Gordon, Clarity Haynes, Leah Lopez, Gaetanne Lavoie, Lauren Amalia Redding, Kay Ruane, Manu Saluja, Holly Ann Scoggins, Rabecca Signoriello, Emily Slapin and Maria Teicher.

A majority of the portraits included in the exhibition are of women. In 2009, Loved and Observed artist Alia El-Bermani co-founded the online resource “Women Painting Women” expressly to promote contemporary figurative work of and by women. The intimacy apparent in El-Bermani’s tranquil CaryAnn hints at the depth and appeal of portraying female friendship. Leah by Elizabeth Adams-Jones and Diana and the Beast by Shauna Finn both stem from friendships with fellow exhibiting artists (Leah Lopez and Diana Corvelle, respectively). Depicting women also offers female artists the opportunity to view themselves in a new light. Kay Ruane populates her intricate graphite and gouache interiors with predominantly solitary women beside panoramic picture windows, often as a way to indirectly explore her own identity and relationship to the world.

Another prevailing theme of Loved and Observed is the purposeful blend of traditional skill and contemporary aesthetic. As artist Nanci France-Vaz explains of her narrative portraits, “my paintings combine the lighting techniques of a cinematographer with the methods of the old masters.” Lauren Amalia Redding seamlessly weaves past and present together in Elsa’s Altarpiece II, a diptych of two delicate silverpoint drawings of her grandmother’s hands. Documenting family members is Redding’s way of preserving her Cuban heritage, and her choice of silverpoint as a medium gives an heirloom quality to her drawings that befits the legacy of her subject. Erin Anderson’s hyperrealist oil portraits surrounded by shimmering etched designs literally expose the time-honored practice of painting on copper while at the same time subduing it.

Women’s portraiture has long outgrown expected stereotypes, and the result is as unique as the artist/subject pairings themselves. Maria Teicher’s deftly rendered self-portrait, entitled This Personal Pinnacle, shows a close-up of her face half covered in plastic wrap. The image may remind the viewer uncomfortably of suffocation and mortality, but as allegory it also recalls the broader and more relatable feeling of being trapped or overwhelmed. Clarity Haynes notes that her ongoing series The Breast Portrait Project is “a subversion of traditional purposes of portraiture.” Haynes’s striking, unidealized torsos of ordinary women honor the lives and experiences of her subjects, while also offering women an alternative standard of beauty and strength.

VOYEUR

Gallery

curated by Dina Brodsky
at Lyons Wier Gallery, June 19 – July 19, 2014
read press release
review by Jacob Hicks and Angela Gram for Quantum Art Review: “Voyeur”
article by Elisabeth Donnelly on Flavorwire: “Beautiful, Intimate Art Explores Voyerism”
one of the top 10 summer shows on Artsy: “Must-See Summer Shows”



There is an undeniable thrill that comes from observing peoples private lives or witnessing something intended to stay concealed. The word “voyeur” evokes trespassing into others’ hidden worlds and seeing their secrets. How many of us have lingered too long by a half-open bedroom door or furtively listened in on a confidential conversation? Sometimes, these glimpses into others’ lives are exhilarating, but other times, they leave us feeling uneasy, wishing we could “unsee” what we saw.

In a way, all artists are voyeurs. They have a unique ability to observe the world around them and create windows into strangers’ experiences that might otherwise go unnoticed. These insights also provide a singular perspective into the artists’ own private experiences.

Voyeur” curator Dina Brodsky has assembled a series of artworks that fill viewers with a sense of wonder and transgression, oscillating between the tender and the unnerving. Ms. Brodsky’s paintings deliver a peek into abandoned rooms, leaving viewers wondering about the former occupants’ livesbased on what is left behind.

The artists’ works range in timbre from unscripted moments of gentle privacy to images that feel like intrusions. Bonnie DeWitt’s drawings appear innocent and sweet at first glance, but portray an underlying sense of mystery and voyeurism. Cory Morgenstein’s work displays a face on a mirror, frozen in an expression that is clearly and uncomfortably private; the discomfort is amplified because the viewer’s ability to see their reflection in the image’s mirror background, as an interloper into the scene.

Other artists take objects and settings that are typically hidden and showcase them boldly. Judith Klausner transforms prescription bottles, which are often concealed and imbued with shame, into glittering showpieces for public exhibition. Mitra Walter’s works demonstrate different levels of comfort by partially clothed women in the spotlight.

Diana Corvelle’s lover’s eye lockets harken back to the Victorian era, when sweethearts would exchange keepsakes that purposely obscured the deep sentiment they contained by depicting only part of a beloved’s likeness. Michelle Doll’s paintings openly exhibit highly intimate interactions between lovers. Maria Kreyn’s glowing artworks literally illuminate a moment of introspection from within.

Some painters capture the fluidity of how privacy is perceived. Amber Lia-Kloppel’s works reveal subjects that have the comfortable, relaxed appearance of someone who is alone, even though they are being watched. The figures in Joshua Henderson’s paintings show the intersection between uncertainty and intimacy, and a sense of happy quietude in the midst of darkness. Luis Borrero portrays a spontaneous, unscripted movement of the body in a confidential setting not intended for others’ eyes.

Others capture the voyeurism of trespassing into hidden spaces. Tun Myaing provides a glimpse into the rarely seen underbelly of large, inhabited structures; a venture into labyrinths of out-of-use equipment that grows increasingly dilapidated with time. And James Adelman offers a peek into accidental, partially illuminated scenes resulting from accidental lighting, including a fraction of a dark bedroom illuminated by a fallen flashlight.

For artists, it is a privilege to observe a single moment closely and intently, turning it into a tableau that transcends the quotidian. “Voyeur” allows the viewer an opportunity to experience those moments and provides a rare chance to observe unabashedly