EL PATIO DE MI CASA
DE
TIERRA,
SEMILLAS
Y NUEVOS CICLOS
OF SOIL, SEEDS AND NEW CYCLES
An artistic approach to the new season.
Soils have a life cycle; they are born, mature and become of age. In cases, they may even "die" (disappear or get buried). Conception. Soil formation starts by disintegrating the rock under the influence of climate. Vegetation settles and their roots further loosen the rock.
A seed is an embryonic plant enclosed in a protective outer covering. the formation of the seed is part of the process of reproduction in seed plants the spermatophytes, including gymnosperm and angiosperm plants. Seeds are the product of the ripened ovule, after fertilization and success of gymnosperm and angiosperm plants, relative to more primitive plants such as ferns, mosses, and liverworts, which do not have seeds and use water -dependent means to propagate themselves. seed plants now dominate biological niches on land, from forest to grass lands both in hot and cold climates.
A Cycle is a series of events that are regularly repeated in the same order.
Every year with soil and seeds, a new cycle starts with unlimited possibilities to create something new. OF SOIL , SEEDS AND NEW CYCLES it’s a curatorial selection in where we showcase different works from the artists that either in their process, journeys or final results we can experience their own cycles.
Title: Lake Worth Tulip
Year: 2017
Media: Oil sticks and Acrylic
Dimensions: 52 x 43
Artist: Adam Handler
Tulip Works:
Many times, people ask why I choose to represent tulips in my work. The reason behind it is actually quite straightforward. I wanted to represent a flower in my work in the simplest way yet having a strong bold form. The “naive” way to represent a tulip attracted me with its 3 points like a crown and the form continued to find its way into almost all my work. In looking at my ghost paintings one may notice that if you flip the ghost upside down you will see the tulip form. Also, if you view my figure paintings and look closely at the way the hands/arms are represented, one will view a tulip flipped on its side. The repetitive use of the tulip form was completely subconscious until a gallerist pointed it out
Title: Manggis
Year: 2015
Media: Sumi Ink and Guache on paper
Dimensions: 34 x 26
Artist: Adrian Hashimi
Manggis is the Malay name for mangosteen, a delicious fruit commonly found in South East Asia. It is dark and has a rough texture on the outside but very sweet and pale on the inside. As an homage to my past and culture, this 'manggis' is offered to the world by a warrior made of the vines of life. Clad in a traditional costume of hibiscus and a batik sash across his chest, he fights his way through life brandishing a 'keris' to ward off all evil in his way. As the dark past perches on his shoulder, he steps the opposite way looking for a brighter future. Just like the lotus buckle he adorns; beauty too can grow from the murkiest surrounding.
Title: Eden
Year: 2018
Media: Oil on Canvas
Dimensions: 54 x 70 x 2
Artist: Alison Causer
"Alison Causer’s paintings hover somewhere between abstraction and landscape, occasionally hinting at figuration. They engage color and gesture with a bold palette and marked energy. Though it’s not wholly logical, her paintings employ a distinct sense of depth that draws the eye into the center of the image, and once you’ve arrived there her seductive use of color holds your attention."
Artwork Image: Eden, 2018. Oil on canvas. 54 x 70 x 2 in.
Title: The Desert Inside (Constellation)
Year: 2018 / 2019
Media: Screen-print transferred and ink drawing on enamel inherited plate.
Artist: Cecilia Mandrile
My paternal grandmother gave me my first oil painting lessons, she taught me to ‘see’ even when she became blind. Soon after she inherited me this set, the one we have eaten together her delicious empanadas and pizzas and creole food every Sunday since I can remember. This was possibly a wedding gift for my grandparents. What it was certain is that in our small central Argentinean town, she treasured this ‘Made in England’ china set from the late 30’s, early 40’s. It was quite meaningful to discover -and recover these plates in my recent visit to Argentina. During my PhD studies, and later as an Artist Research Fellow at the Centre for Fine Print Research in Bristol, UK, I become more familiar with English ceramic industry and printing methods. Stoke on Trent was always in the conversations and visitors from there were always around.
I become more curious about it and learnt immensely from researchers and colleagues. So, when I rescued these “blank” plates, It was time to re-signify the inherited collection with the portraits of my vanishing soft sculptures, vanishing family memories. This meant a dialogue waiting to happen between then my two homes. The family become a constellation, shining, together, in diaspora.
Title: Cerezos ( Chery blossoms )
Year: 2011
Media: Oil on Canvas
Dimensions: 30 x 40
Artist: Daniel Djuro-Goiricelaya
Back in 2011 I was taking classes with the great Frank O'Cain at the art student league in New York. I remembered he challenged us to paint like we were painting under the light of a different place like Paris. At that point of my , I had never been Paris but I did asked him to describe to me what would the light there be. Inspired by his description I created this piece .few years later in a conversation with a Paris born New York based Designer that saw the painting mentioned how much this piece reminded her of her childhood.
Title: Millennial Blade
Year: 2019
Media: Mixed Media
Artist: Edgard Rippel
This piece explores the contrasts within the millennial upbringing : luxury/terrorism, minimalism/Violence, individualism/globalism.
It also explore how millennials are the last generation that remembers of a time prior to the Information Age, and how it grew up in both era of 20th and 21st centuries as well as the 1000s and 2000s.
Title: Walz of the Flowers
Year: 2020
Media: Mixed Media
Artist: Florencia Alvarado
This work belongs to the series 'Walz of the Flowers' made during the beginning of the Quarantine in 2020. As an exercise for #ArtforBreakfast I listen to Tchaikovsky's piece every day for 21 days while I was working on this. Every day I went to take photos with my phone of flowers in the streets next to my house. This was also a method for me to keep me active and grounded during the most unpredictable part of the lockdown. Then every day, I came home and started digging on my 35 mm archive and started making collages. For me it has to do with the reborn (flowers) and the archive (35 mm film photography) Then reborn into a new fresh body of work. Optimistic and playful in the middle of the uncertain.
Title: The Invitation
Year: 2018
Media: Digital Color Photograph
Artist: Grace Li
This image is part of a series of images that focused on playfulness and experimentation through different textures and colors. The image works to reclaim glitter and the color pink to create a world where femininity is embraced. Through the use of foreshortening, the model invites the viewer into her world of light and play, asking the viewer to become a participant rather than a voyeur.
Title: Buenas noches ladies and gentlemen
Year: 2008
Media: Mixed Media
Artist: José Rafael Perozo
With this work I got to participate in the 3rd regional salon of young artists in the Museum of Contemporary Art of Maracaibo.
The title took him out of the intro of a Song by Fito Paez (Circus Beat) because at the time it seemed to me that it reflected a little what the song says.
One thing I like about this job is the fact that I had the help of my mother to do it, being of such a great format and complexity I had to ask her for her help.
For about 7 years I have been living in US, and seeing a LGBTQI flag is common, but 13 years ago it was not quite common in the city I'm from.
The "gay" flag was only displayed in "gay" places and that is why I mainly did this job. A flag with high volume, penises, vaginas, tits, and messages related to sexual and gender diversity.
Sequins, feathers, lace, colors, fake stones. A work that I remember very fondly and that at some point I would love to recover.
Title: The Melting Path
Year: 2020
Media: Work on Paper
Dimensions: 24 x 20
Artist: Julia Justo
My work is inspired by the waves of immigration that New York experienced since the first European settlements from around the 1600s.
The black and white symbols represent my own Latin American Indigenous heritage.
The variety of colored dots is a metaphor of the ethnic and cultural diversity of a city that as a home to citizens from all over the world, is a wonderful melting pot.
Title: Emotional Landscape 19
Year: 2020
Media: Work on Paper
Dimensions: 5 x 7
Artist: Kate Quarfordt
Emotional Landscapes is a series of small mixed media paintings on paper created during lockdown in the first spring of the pandemic. At a time when the walls were closing in on so many of us, I felt a deep longing to translate visions of vast inner landscapes into tiny images that could be held in my hands and then sent through the mail directly into the hands of strangers and friends. Proceeds from the pieces went to Resistance Revival Chorus's THIS JOY Fund, raising $2000 for working musicians impacted by the crisis.
To make the pieces in this series I always followed the same ritual. I layered in fields of color first. Then the highlights, barely legible words and lines. The last part--which was always the most emotional for me--was carving the shadowy parts into the color fields to make the hazy landscapes bloom into dimensionality. During those dark and disorienting days, that final step in the creative process often felt like the realest thing I did each day. I don't wish grief on anyone, but one thing I'll say is that it's useful for seeing where you are in space and time. Scribbling shadows into these images gave me an anchor point each day, a predictable moment when I could fully feel my sadness and outrage. The sensation pinpointed me into my own emotional landscape and helped me see the horizon line more clearly. Which was how I began to navigate toward joy again.
Title: Dark Spring
Year: 2020
Media: Digital Drawing
Artist: Milicent Fambrough
This piece is titled dark spring.
The pandemic had just gotten a foothold in America 🇺🇸. The fear of the unknown was great and heavy on the mind. Going into the spring of 2020 was a dark time. When you think of spring. Flowering gardens come to mind along with the bunny rabbit and Easter eggs 🥚. The fast changing of snow filled pastures to lush green fields. We are thinking of meadows sweet and fragrant. These naturally happen every year. They did that spring. Though the death of thousands kept our minds transfixed. Refrigerator trucks stacked with our dead. Locked away from those meadows and sunshine. We waited in fear our turn would be next. This was our darkest spring. A culling of the world and of normality. The world changed forever. That is depicted here. The bunny a fertility symbol and the meadowland dark and not green. Our rabbit of black and white the funeral colors in certain cultures. -M 2021
Title: So Raro, Muy Weird
Year: 2018
Media: Mixed media on Paper
Artist: Nicasio Andrade
I made it over the course of two weeks, and I was never certain of what it was that I was doing. I let madness guide me like ever before. I didn't know if I was going to finish it or throw it away.
Generally I am significantly more controlling with my work to the point that I visualized them before starting. In this opportunity instead I let go of my need to know what I was doing and instead I played with the piece and let it turn into a form and shape organically .
Title: La Cucarachita Martina
Year: 2021
Dimensions : 5 x 7
Media: Acrylic
Artist: Palén Obesa
The title, "La cucarachita Martina" makes reference to a famous children's tale in Latino America about a flirty cockroach that finds a penny in the streets. She decides to buy a dress with it and hosts a party with the hope to wed a suitable bachelor. Many animals try their luck with Martina, singing to her their best songs in order to win her heart, but she is picky.
It’s only when an elegant cat comes to the party and meows to her a beautiful serenade that Martina finally finds her true love. They fall in love and immediately get married. [At this point, the ending of the story varies depending on the country: in one version of the story, Martina is cooking dinner in a big pot and goes out to buy some vegetables. Her new husband tries to steal some soup before it's ready, trips and falls into the pot. Martina arrives home to discover her cooked husband and cries for her loss. In another version, the cat has only been deceiving Martina and eats her on their honeymoon. Regardless of what version you choose, Martina always has a sad ending.]
When thinking about La cucarachita Martina's story, I found it interesting how the creator of the story decided to give such a tragic story and sassy personality to an animal that is often belittled by us. In my print, the viewer has the ability to see Martina visually suffering and empathize with her. Her cut up abdomen bleeding out conveys to the viewer feelings of violence, vulnerability and, of course, the idea of death. The choice of bleeding an animal that doesn’t naturally do so is another way in which I try to humanize the cockroach and dramatize her pain.
Title: Beyond A Thousand Years
Year: 2019
Dimensions : 8 x 10
Media: Dye on Paper
Artist: Susan Luss
"I think of my works on paper as ruminations evolving out of time lived. This piece, Beyond A Thousand Years, considers a collection of recycled memories extracted from an earlier period of my life, maturing through subsequent experiences, integrating them into the present. This work was born out of a larger but specific body of work I created over a two year period starting in September 2017, Home Sweet Home (And Other Suchness) through which I reimagined childhood place memories."