Osamu Kobayashi made an impression at this year’s Pulse NYC. The Observer’s Culture section noted:
“Brooklyn artist Osamu Kobayashi’s serene, inviting color-block oils on canvas stood out at Mindy Solomon as a welcome reprieve.”
Gallery artist Julian Lorber is half of the two-man exhibit “Second Nature” currently showing at Outlet Fine Art in Brooklyn, NY. The show addresses with subtlety an environmentalist agenda, detailed in an insightful review from Hyperallergic.
“If Lorber’s approach to nature were likened to a method of scientific research, it would be the extraction of core samples from sediment, stone, and ice. His vibrant gradient paintings, whose textured surfaces resemble a canvas thick with layers of tape, evoke cross-sections of geological strata.”
“This touch of black humor adds to the sense of alarm seething beneath the surfaces of Dorf and Lorber’s seductive works. Like toxic materials spilled into an thriving ecosystem, these two sculptures infect everything around them, crystallizing the exhibition’s environmental politics.”
James Kennedy‘s second solo exhibition with Mindy Solomon Gallery, Morphosis, was written up in the January issue of Artpulse Magazine:
Conceptually, his work is evocative, aiming to express inner transformation through his contorted and faceless figures. The result is a unique and intriguing imagery that levitates between meticulous precision and free expression.
Read on below for the full review.
Named a 2014 Top 100 Fall Show to See Worldwide by Modern Painters Magazine
1. indicating shape, form, or structure of a specified kind (dictionary.com)
Mindy Solomon Gallery is proud to present m o r p h o s i s, new work by James Kennedy, November 14th through December 26th at 172 NW 24th Street in the Wynwood Art District, Miami. An Opening Reception with the artist will be held Friday, November 14th, from 6-9pm. In his second solo exhibition with the gallery, Kennedy presents paintings and sculptures that characterize structural shifts within his work, evolving components evident in his complex Spatial series into abstract and semi-abstract figurative suggestions. The collection has been named a 2014 ‘Top 100 Fall Show’ to see, worldwide, by Modern Painters Magazine.
Fresh from his Golden residency, which allowed Kennedy the opportunity to explore new ideas and materials, he endeavors to leave the formality of frame and place an emphasis on linear tensions and kinetics—the organic relationship between the subject and structure, habitat and inhabitant. Kennedy will also be introducing sculptural works, manipulating masonite into the constructivist forms so iconic to his two-dimensional art.
Miranda McClintic, independent scholar specializing in twentieth and twenty-first century art, writes of Kennedy: “James Kennedy sees himself in the artistic traditions of both alchemist and master craftsman. With no preliminary drawings, he begins by covering masonite with washes of acrylic paint. The backgrounds are customarily a mixture of titanium white, medium gray, titanium buff, and yellow ochre. Next, Kennedy seamlessly applies emulsions, glazing, and scraping to build up individual planes. Varying hues, tints, and values of tertiary colors are subtly modulated by density of pigment, dilution, and overlay to create a tonal structure across the surface. The absence of visible brushstrokes gives each work an ethereal quality.”
Kennedy’s flawless technique combined with his one-of-a kind imagery serve as a wonderful departure point for this creative evolution of his work; Mindy Solomon Gallery is pleased to showcase its newest permeations.
ABOUT JAMES KENNEDY
James Kennedy, Irish painter, studied at the Royal Scottish Academy, London School of Contemporary Dance, and Rhodec Academy of Architecture and Design. Upon his arrival in New York in 2003, Kennedy’s early abstract landscapes—moody, blended explorations in the horizon line—evolved into more visceral, textural works (Tectonics and Earthscapes), which employed deeper layers of media, mainly oils and encaustic over acrylic.
It was not until 2006 that material from Kennedy’s early drawings and training in dance and architecture began to appear in his trademark simplistic arrangements on masonite panel. The first exhibition of these works was held in 2007; Architectures and Choreographies presented oil paintings that resonated subtly with the British Post-Cubist, Bauhaus, and Constructivist schools. In 2010, Kennedy moved his studio from the Springs in East Hampton to New York City. Concurrently, his painting language developed a stronger, more individual, instantly recognizable style. He employed acrylics exclusively, and embarked upon deeper exploration of color field, use of incised linear connections between shapes and spatial characters, and the added dynamic of dilution and density.
Despite the hard-edged complexities evident in many of his works, Kennedy’s aim is to resolve these self-generated conundrums and present a balanced, unified surface. His recent work develops an emphasis on carving, glyphs, and greater attention to the painted understructure. Kennedy currently works in his studio in Long Island City, New York.
Form + Facture: New Painting and Sculpture from New York
November 1 – December 13, 2014
Reception: Saturday, November 1, 7 – 9 pm
Artist Talk: Monday, November 17, 1 pm
Presenting new work by six New York artists, ‘Form + Facture’ delves into the conceptual and aesthetic concerns of contemporary abstraction. The exhibition features large-scale paintings and sculptures by Rachel Beach, Paul Behnke, Matthew Neil Gehring, Osamu Kobayashi, Rebecca Murtaugh and Fran O’Neill.
Gary Petersen is a native New Yorker and holds a B.S. degree from The Pennsylvania State University and an M.F.A. from The School of Visual Arts. He lives in Hoboken, New Jersey and was awarded a studio at The Marie Walsh Sharpe Foundation, Space Program 2010-2011, in Brooklyn, New York. In his own words Petersen identifies as “an abstract painter using geometry, particularly line, to reflect vulnerability and uncertainty in the world and in the self. Color allows the somewhat familiar forms to become personal and subtly eccentric.”
The Visual Arts Center will host an opening reception on Sunday, September 28 from 1-4pm. The Visual Arts Center is an easy 45 minute train ride on NJ transit from New York Penn Station and a five minute walk from the Summit, NJ station. Click here for directions and gallery hours.
The Mindy Solomon Gallery is proud to present the work of New York based artist Sylvia Hommert April 6-May 11 at the gallery, with an Opening Night Reception Saturday, April 6th from 6-9PM and Artist’s Talk at 6:30PM. Born in 1967 and educated at the famous Otis Parsons School of Art in Los Angeles, California, Hommert’s background as a successful textile artist and designer led her to explore abstraction and the use of color and light in painting as another form of textural experimentation. Pushing the possibilities of pigment and surface with an almost alchemistic precision, she creates colorful surfaces that project prismatic color and pattern.
“The Symbol of all Art is the Prism.
The goal is destructive.
To break up the white light of objective realism into the secret glories it contains.”
– E.E. Cummings
Hommert writes in her artist statement:
“Light and the reflection of light, how it interacts in an environment, is a constant thread that flows through my work. I am captivated by the silvery light glistening off alpine icicles and the lavender iridescence of sunset on water. It’s elusive, full of movement, ever changing, and it’s this ephemeral quality that intrigues me. How the passing of time plays off the luminous surfaces of each painting–the highs and lows, the shadows and relief. The color subtly shifts too, as the light moves through a space from sunrise to sunset, or as you move through the room. An organic calendar that clocks both physical movement and the passage of time. My technique has evolved as a way to capture the liquid and fluid nature of light, and I am drawn to materials that enhance and illuminate: pearly paua shell, metal leaf, holographic paper, crystalline mineral salts, beeswax, resin. By building up layers of materials from the opaque to translucent to transparent, then using a flame to burn away portions, I create depth and texture. Exposing elements that are underneath holds a hint of mystery that’s akin to uncovering buried treasure. Introducing dimension as a factor, I can express not only surface texture and depth, but different perspectives; the highs and lows offering yet another way to play with and capture light.”
EXHIBITION INFORMATION: Mindy Solomon Gallery presents ‘The Work of Sylvia Hommert‘ April 6-May 11, 2013. An Opening Night Reception takes place Saturday, April 6th, from 6-9pm, with an Artist’s Talk at 6:30pm. Hommert’s background as a successful textile artist and designer led her to explore abstraction and the use of color and light in painting as another form of textural experimentation. Pushing the possibilities of pigment and surface with an almost alchemistic precision, she creates colorful surfaces that project prismatic color and pattern. Mindy Solomon Gallery is located at 124 2nd Ave. NE, St. Petersburg, FL 33701. The gallery is open Wednesday-Saturday from 11am-5pm. For more information, please contact the gallery at firstname.lastname@example.org or 727-502-0852, or visit the website at www.mindysolomongallery.com