Dominique Labauvie Art LTD Critics Choice

“Material Culture,” 2016, Dominique Labauvie, Pastel and charcoal on Stonehenge paper, 50″ x 42″

“Material Culture,” 2016, Dominique Labauvie, Pastel and charcoal on Stonehenge paper, 50″ x 42″


Precise, stark, and often clinical in their approach, French-born, Miami-based sculptor and painter Dominique Labauvie’s pieces have an unexpected source of inspiration. Drawing from natural rock and landscape formations, Labauvie distills form and line to its most refined iteration. Stripping them of all their frivolity, he lays bare the essentials. His first solo show in over a year promises new sculptures and drawings of the same ilk. Emphasizing nature as coherent rather than random, his forms are evoke a graphic simplicity. Labauvie primarily employs industrial materials in his practice, signaling a parallelism between the natural and modern worlds. The composition conflates an organic abstraction with a natural one, leading its viewers to consider the relation between art, or culture, and nature. From large-scale, three-dimensional work, his drawings boil down his formal elements even further. His new work often features flurries of color, but have the same laser-like focus on reducing shape and line to the barest essentials. Dominique Labauvie’s new work will be on view at Mindy Solomon Gallery, from January 21 – March 4, 2017.

You can view Labauvie’s work beyond “Material Catch” in his first Spotlight exhibition at the Museum of Fine Arts, organized by Curator of Contemporary Art Katherine Pill, In St. Petersburg Florida.

Dominique Labauvie and Michael Conrads // Opening Reception January 21st

Material Catch // Dominique Labauvie
Celebrating Opposites // The Work of Michael Conrads
Opening Reception // Saturday, January 21st from 6-9pm
Exhibition on View through March 4th, 2017

“The line informs us about the absent forms, as only the missing remain in our memories, our books, and in our images. The line attests to the desire of thought.” -Dominique Labauvie

Dominique Labauvie // The Third Eye 2016 50 x 42 inches Pastel and Charcoal on Stonehenge paper

Dominique Labauvie // The Third Eye
50 x 42 inches
Pastel and Charcoal on Stonehenge paper

Dominique Labauvie’s newest body of work is a series of sculptures and drawings focused upon ruin as subject, a theme often addressed in art history, and weighing heavily in Labauvie’s thinking as ever-present in our society by way of environmental damage, cultural destruction, government, and concern for the future. In Labauvie’s view, material culture—the remains of what once was—is material evidence which aids in understanding the past.

Through his sculptures, the artist translates the concept of ruin as the reduction of form to its minimum, the line of the funambule (French for tightrope walker), and sculpts in metal as a mark in space. The sculptures are fabricated using small segments of forged steel, welded, as marks on paper would be joined in drawing.

“The ground—any ground: earth, wood, or stone—hosts the forged lines, just as the landscape that for centuries has been mapped by rivers, roads, and highways. Drawing engraves the style of my sculpture. Drawing is one of the mental references of the sculpture, and in a sense it is a form of partnership.

“My sculpture not only addresses the line as a record to ‘transport time into space,’ but it also manipulates the material nature of steel. Steel is actually not natural but a man-made material, with the exception of the iron meteorite that falls from the cosmos onto earth. From the mineral to the industrial product, we can say that steel is a pure product of human inventiveness and work. As Valery wrote in 1937, ‘What would we be without steel?’

Dominique Labauvie // Cloud Nine 2016, 95 X 43 X 20 inches, forged steel

Dominique Labauvie // Cloud Nine
2016, 95 X 43 X 20 inches, forged steel


“The floor of the studio where I work is a surface on which I move. The segments of the sculpture are laid out, unconnected and moving all the time without a predetermined direction, as in a drawing. As I work, the image appears and disappears—creating a kind of high and low tide of perception. The line and its speed, its texture, tension, or extension is found well within the nature of the steel; it constructs the different rhythms of its presence and names them. When a line bends, it slows down; as it expands, it suddenly appears as a flat surface: it carves out its presence in space like a black hole.”

Labauvie’s sculptures are intended as a physical homage to the strength of survival. The Arrival is the last sculpture of this series, “a declaration of victory and love,” which makes a historic nod to the famous Birth of Venus by Botticelli.

Michael Conrads // Door of Janus I (Magna Oscura)  2017 84 x 60 inches various fabrics, gesso, acrylic, graphite, spray paint, oil, and pigment on canvas

Michael Conrads // Door of Janus I (Magna Oscura)
84 x 60 inches
various fabrics, gesso, acrylic, graphite, spray paint, oil, and pigment on canvas

Mindy Solomon is proud to introduce, for his first Miami solo exhibition, the work of Michael Conrads. Currently an artist in residence at the Fountainhead in Miami, Conrads hails from Germany.

Conrads believes good painting is a manifestation of the artist’s emotional and intellectual sensibilities realized on canvas. Ultimately, achieving a visual epiphany and the fulfillment of an aesthetic journey is the final goal.

“Before I start a painting, I usually have a composition in mind, which I develop through a series of small-scale drawings. These are drawn onto a specially modified grid, which enables me to shift between dimensions of space—from plain top view to isometric perspective to multilayered, multidimensional space-and-time tables. I use the grid as a tool to construct the illusion of depth, and to create contradictory perspectives that change while gazing at the picture. The perspectives can be quite complex at times, while others are merely repetitive and pattern-like, which can lead to ultra-dense, self-consuming structures. The magic happens (or doesn’t) in the transformation from a graphic drawing to painting.”

Utilizing a variety of media, from acrylics to oil, spray color, pigment, shellac, bitumen, and pastel, Conrads’s process is the materialization of painting. His process of art-making constructed to analyze how painting works. The parameters of a painting contain many contradictions: light and dark, dense and loose, quickly drawn and elaborately articulated, dynamic and static, colorful and monochromatic. Conrads believes all of these actions are valid. It is the utilization and implementation that create perfect compositional balance.

Conrads states: “Finding balance is usually the hardest part. It all comes down to what happens on the canvas. As much as planning or drawing may help to prepare for a painting, there are no shortcuts. A former exhibition title of mine comes to mind: No paint no gain. Lately, I have rather been looking for simplicity than complexity. It makes the work quieter and more dynamic at the same time, and helps me to focus on certain aspects of painting. Recent works include paintings that only consist of various types of pre-primed white canvases put together in spatial compositions, consisting of a minimum of painterly gestures. This minimal approach makes traces of the work or mistakes a lot more obvious. As the white cube, which only exists in theory—and can, in reality—never be perfected.

“But not all paintings are that minimal, and luckily, I am still fascinated by color. My paintings are about perception. They give me intellectual stimulation. I don’t want to explain anything in my work or to be identified with a particular name or a genre. There is no overlying concept. Showing the process of painting is important, but not my final goal. I guess it is important because painting is what I love to do. In that sense, a painting is no more than the sum of all the single actions that I did to it until it’s done. And sometimes that’s a lot.”

Sights for the Holidays

Einar and Jamex de la Torre // Work Ethics 2016, 68.25 x 50.25 x 3 inches, Lenticular Print in LED Lightbox

Einar and Jamex de la Torre // Work Ethics
2016, 68.25 x 50.25 x 3 inches, Lenticular Print in LED Lightbox

The Flaunting of Youth by Einar & Jamex de la Torre made this Miami Herald list of must-sees over the holidays.
The holidays may be over, but there is still time to see Einar & Jamex de la Torre’s The Flaunting of Youth and G.A.S’ Raw Horse Power. Both exhibitions on view through January 14.

Ali Smith featured at Carnegie Art Museum

Ali Smith // Half-Life, 2007, oil on canvas, 84 x 130 inches

Ali Smith // Half-Life, 2007, oil on canvas, 84 x 130 inches

Ali Smith is currently featured in the group exhibition “Art for Art’s Sake: Selections from the Frederick R. Weisman Art Foundation” curated by Billie Milam Weisman, on view at the Carnegie Art Museum in Oxnard, CA from December 11, 2016 – February 19, 2017.

“This exhibit explores the potentials of abstraction. It features over forty, primarily young American artists that expand upon the conventions of modern art to create lush works revealing an interest in subjective, transcendental and visionary experiences.”

Ali’s work for the exhibition is also spotlighted in the museum’s ad in the January/February issue of Artltd—an impactful issue as it will be distributed by the publisher at the LA and Palm Springs Art Fairs.

“It’s a dynamite exhibit and your painting is literally a large part of it. Thank you!”
-Suzanne Bellah, Carnegie Art Museum/Oxnard

G.A.S. // Live Performance at Opening Reception

On view through January 14th, Generic Art Solutions present at Mindy Solomon Gallery the video and live performance titled Streetfighter: Ninjas which particularly addresses the confrontation and surrender involved in collaboration, and the glory and failure of conflict and bravado associated with the works.

Generic Art Solutions was honored to work with Yotam Haber, who has composed a score for the video work. Haber is a composer based in New Orleans, a 2005 Guggenheim fellow, and a 2007 Rome Prize winner in Music Composition. In 2015, Haber was commissioned by the Kronos Quartet and Carnegie Hall for the 50 For the Future Project to write break_break_break for string quartet and electronics (electronics by Philip White).

In the Miami debut of the StreetFighter: Ninjas performance, G.A.S. teamed up with the digital projection installation artist and educator from Galway, Ireland, Jane Cassidy. Primarily trained in music composition and animation, Jane earned a Masters in Music and Media Technologies from Trinity College Dublin in 2008, and an MFA in Digital Art from Tulane University in 2014. Jane is currently Assistant Professor of Digital Media at the University of Alabama, Tuscaloosa.

Einar de la Torre Label Artwork // Cheech Marin’s New Mezcal Launch Featured on


Cheech Marin introduces his new line of mezcal during Art Miami week—featuring a logo inspired by Einar de la Torre’s sculpture.











The openings of “The Flaunting of Youth” by Einar & James de la Torre and “Raw Horse Power” by Generic Art Solutions were among the first events to sample the new mezcal. Cheech Marin owns a “prized Chicano Art collection, one of the most extensive in the world.” Read more about his passion for supporting and elevating Chicano art in this article.

“The Flaunting of Youth” and “Raw Horse Power” are on view at the gallery through January 14, 2017.