Using performative and allegorical processes, described as such by curator Luis Jacob, the work explores how the artist’s conditions have shaped their sense of place.
Wood brings out the dramatic and almost shallow aspects of society while Husar pulls on engrained historic elements of womanhood. Both are excellent colorists and mesmerizing painters.
In these paintings, Lonn evades the purely abstract and places an emphasis on the notion of meaning making. The paintings in Khrome seem to suggest a possible truth; however, it is the viewer that is given the choice to decide just what this truth might be.
The scenes portrayed are both in natural and city environments mainly in the Czech Republic, the artist’s birthplace, where he visited for the first time this year since immigrating with his family 49 years earlier.
Hendeles not only offers a glimpse into the complex development of the “pig” in human civilization; she exposes much of the controversial, characteristically “vulgar” underbelly of the human condition, or rather the potential it has to descend to the begotten level.
Harruthoonyan’s show takes us to a world of dream, surrounded by the cosmos, relaxing the mind. Then upstairs Mann’s exhibition greets the viewer with a world of ecstatic colors that energizes and activates the imagination. The two exhibitions greatly complement each other.
The chaotic, and sometimes hypnotic nature of these prints draws us in and locks us into a constant battle for understanding, from which escape can be difficult.