Representation with JDJ Gallery, NYC

I am thrilled to announce my representation with JDJ Gallery. Created and curated by Jayne Drost Johnson, JDJ recently had its inaugural group exhibition at their new space in TriBeCa. Please visit their website to see the roster of excellent artists they represent : JDJ Gallery. Coming soon, a solo booth at NADA ( New Art Dealers Alliance) NYC!

JDJ Inaugural group exhibition at 370 Broadway, NYC

I am thrilled to announce my participation in the inaugural group exhibition of JDJ at their new space in TriBeCa, opening November 16th, 6-8pm.

370 Broadway, 2nd Floor, New York, NY 10013

Transcendence
November 16, 2023 - January 13, 2024

JDJ
370 Broadway, 2nd Floor
New York, NY 10013
Opening Reception: Thursday, November 16, 6-8 pm

JDJ is thrilled to inaugurate its new home in Tribeca at 370 Broadway with an intergenerational exhibition of artists who aim to create works that reach beyond the concrete world and tap into the metaphysical realm. Participating artists include:

Beverly Acha
Barrow Parke
Myles Bennett
Miriam Cahn 
Marylyn Dintenfass
Julia Felsenthal
Heather Guertin
Adam Henry
Minako Iwamura
Jenny Kemp

Gyorgy Kepes
Amy Lincoln
Ana Mendieta
Paola Oxoa

Elliott Puckette

Whether inspired by optical or nature-based phenomena, or their own personal sense of interiority, these artists use color, light, form, space, and poetic gesture as a means of exploring worlds within and outside of our corporeal existence. Several through lines emerge—among them: a systematic process of removal or negation, whether of color or of material; a fascination with light and the ever-changing qualities of the atmosphere, and subtle shifts in color gradation that elicit an emotional response from the viewer. 

Beverly Acha (b. 1981, lives and works in Brooklyn, NY)

Beverly Acha captures the intangible sensorial and psychological experience of space through color and repetition in her paintings, which convey a visual language and logic in response to the environment in which they are made. Referencing architecture, diagrams, and landscape, her core concern is the perceptual slippage within these systems, the spaces between knowing and seeing, experience and memory, and the real and the imagined. Influenced by science fiction’s ability to employ the uncanny to build worlds that challenge our reality and the systems we accept as static, Acha’s work can be approached as a type of world building for a more internal and felt landscape.

Barrow Parke (Mark Barrow b. 1981, Sarah Parke b. 1982, live and work in Queens, NY)

The collaborative art practice of Barrow Parke  focuses on the process of weaving and its relationship to visual systems. They are known for their intricate paintings on hand-woven fabric, where painted surfaces interact with its color, texture and pattern. In a series of works from 2013-2016, an example of which is on view here, Barrow Parke conflated the Cartesian logic underlying the structure of weaving with that of the CMYK color space used in commercial printing. White paint is used to negate the thread colors in varying ratios, so new fields of color emerge. By  positioning one system within another, the artists draw connections between the craft of weaving, color theory, and digital technology. 
 

Myles Bennett (b. 1983, lives and works in Brooklyn, NY)

Myles Bennett’s work is centered around the intersection of architectural drawings, 18th-century landscape paintings, and the organized space of woven and raw canvas. His geometric abstractions explore the material capabilities of canvas in innovative ways, deconstructing and reimagining the picture plane. Bennett’s approach combines a variety of techniques, including intricate pencil drawings that are guided by the canvas grain, inking into the cotton fibers, and the precise extraction of a canvas’s warp in order to merge his curiosities and the surface’s condition into an aesthetic balancing act.

Miriam Cahn (b. 1949, lives and works in Stampa, Switzerland)

Miriam Cahn uses the body as inspiration for an emotive sensibility or force that cannot be contained by its boundaries. Initially influenced by performance art and feminist movements of the 1960s & 1970s, Cahn would use her entire body in monumentally-scaled charcoal drawings, sometimes blindfolding herself in order to reduce the influence of her mind within the creative process. The paintings she has made since the 1980s, the subject matter of which represents a diverse range of subjects—human relationships, war and conflict, nature and landscape—use vibrant, electrifying color to convey intense emotion, as though the figures in her works have a palpable inner life.

Marylyn Dintenfass (b. 1943, lives and works in New York and Garrison, NY) 

Best known for her monumental abstractions, Marylyn Dintenfass often uses circular shapes in her paintings. For the artist, the shape conveys multitudes, from metaphysical symbolism, to the architecture of ancient religious buildings, to microscopic organisms and blood cells. The repetition of forms in her paintings allows Dintenfass to use color as an emotive and transportive force: she applies it with varying opacities, which allows each layer to interact with one another. While some painterly marks reveal the presence of Dintenfass’ hand, others make use of a highly controlled, hard-edge matrix derived from ring-like templates of her own design. The juxtaposition of the organic and mathematical is a critical element within her oeuvre and a subject carried throughout the artist’s practice.

Julia Felsenthal (b. 1983, lives and works in Brooklyn, NY and Cape Cod, MA)

Julia Felsenthal’s intimately-scaled watercolor paintings evoke the quiet profundity of the ocean as witnessed from the beaches near her studio on Cape Cod. Each painting offers a distinct, devotional meditation on the meeting of sky and sea, and on the varied color and texture effects created by the Cape’s ever-shifting atmospheric conditions. At once rigidly simple in their compositional constraints and obsessively dense in their mark-making, Felsenthal’s paintings toe a central fault-line: they celebrate and chronicle the protean nature of water and air while indulging and interrogating the all-too-human desire to halt time, to screenshot a view, or to crystallize the fleeting emotions we experience while viewing it.
 

Heather Guertin (b. 1981, lives and works in Red Hook, NY)

Awash in color and texture, Heather Guertin’s intricate oil paintings are derived from images she finds in discarded books. Approaching the act of painting with a sense of openness, Guertin searches for her paintings through the material she comes across. She allows the found imagery to guide the form, color and value in the painting, but her singular vision pushes these fragments into new worlds. Guertin manipulates the paint in highly textured ways, turning realistic subject matter into abstraction through her brushwork: large, thick swoops of oil paint and tiny raised dots on top of fields of color, a reference to the printing mechanics of the found images. The resulting works are, in essence, an act of transformation, as she filters the collages through her own painterly vision.

Adam Henry (b. 1974, lives and works in Brooklyn, NY)

At the core of Adam Henry’s practice is a fascination with perception and cognition. Henry’s interest in the poetry of silence, or sonic absence, manifests in a recent series on view here, in which a photograph of a foreboding landscape has been ripped in a unique pattern that resembles a bolt of lightning across a dark sky. The work’s broader metaphorical resonance lies in the weather phenomenon it depicts, much like a distant lightning strike is seen first and then heard later, or sometimes not at all. At the core of this work is the sometimes blurry distinction between sound and silence, or sound that is seemingly “real” or only in our heads. 

Minako Iwamura (b.1967, lives and works in New York, NY)

With their biomorphic forms, Minako Iwamura’s paintings exist in a liminal state that feels both abstract and corporeal. She uses geometry, color, and  pattern to explore the psychological undertones conveyed by their juxtapositions. On view are a series of recent paintings that introduce vessel-like shapes painted in delicate gradients that can take on the appearance of bodily forms. An installation of small-scale paintings incorporates an intricate web of fractal-like drawings made with gossamer-thin lines of white charcoal.  Iwamura’s interest lies in the exploration of dualities—geometry and nature, the singular and the collective, premeditated delineation and intuitive movement—and the slippage between them. 

Jenny Kemp (b. 1979, lives and works in Troy, NY)

Exploring intuition through linear forms, Jenny Kemp’s paintings serve as conduits for trains of thought. Her work uses a limited vocabulary of forms that are set in motion through vibrant yet subtle shifts of color. Ambiguous in nature, and sly in their slight figurative associations, Kemp’s abstractions originate from a singular gesture of line, and grow into being through intuitive and inspired acts of construction. Created by hand with painterly precision, her paintings incorporate a fantastic sense of tension between hard-edge and free-form sensibilities. The rhythmic lines and shapes converse with one another through accumulations of modulating color. 

Gyorgy Kepes (b. 1906, d. 2001, lived and worked in Cambridge and Wellfleet, MA)

Gyorgy Kepes was a Hungarian-born artist, theorist, designer and educator, and author. In 1937, he emigrated to the US and taught at the New Bauhaus alongside Lázló Moholy-Nagy in Chicago. In 1967, Kepes founded the Center for Advanced Visual Studies at Massachusetts Institute of Technology (MIT). At the focus of Kepes’s oeuvre is the concept that art has the potential to serve as a means to transform the inner self, to raise social consciousness, and to imagine a more robust and equitable world. His robust artistic output was diverse: examples of his abstract paintings, which were influenced by the observation of light and atmosphere in Cape Cod, and his photograms, are included in this exhibition.

Amy Lincoln (b. 1981, lives and works in New York, NY)

Amy Lincoln paints scenes of imagined landscapes, atmospheric activity and vibrant, fantastical foliage, and her works serve as an exploration of light reflection and refraction. Her formally simplified approach to landscape allows her to maintain the focus on a pulsating, emotive sense of color that is present in her work. Lincoln systematically layers color in bands from light to dark, creating an illusion of space and depth. Although her compositions are dream-like and tranquil, they belie her fascination with precise systems related to nature, color, and opticality. 

Ana Mendieta (b. 1948, d. 1985, lived and worked in New York, NY)

Born in Cuba, and having emigrated to the US during the Cuban revolution, interdisciplinary artist Ana Mendieta has remarked that her oeuvre centers upon her belief in one universal energy which runs through all matter and beings, and through all space and time. The works and performances she created in her brief yet prolific career center on themes of exile, displacement, and a return to the land. Mendieta sought to fuse earth and form in her practice, and was fascinated by the marks of aging that objects can bear. This unique drawing on a leaf, part of a series she began in 1982, is exemplary of this fascination, allowing her to incorporate the element of time as part of the work finding its own form.

Paola Oxoa (b. 1979, lives and works in New York and Beacon, NY)

Paola Oxoa’s abstract paintings record states of awareness. Fusing landscape and the body as fluid containers of unified and intelligent energies, she bypasses representing what is seen in favor of what is felt, intuited, or understood. Her works synthesize and communicate her lived experience through the formal elements of painting.

Elliott Puckette (b. 1967, lives and works in Brooklyn, NY)

The elegant simplicity of Elliott Puckette’s line belies its complex process. With brisk, confident gestures, the artist etches inlets into board washed with layers of gesso and ink. The colored washes create distinctive atmospheres in each work. Puckette uses a razor blade to draw her arcs, carving out pathways instinctively with exquisite light touch, then deepening them with cross-hatching—a labor-intensive process that inherently slows the line, subtracting it from the painting and delineating its negative space.

COL Gallery inaugural group exhibition 9/15/23 - 10/20/23

I am very excited to announce and honored to participate in the inaugural group show at COL Gallery, along with a roster of amazing artists. Please join us for the opening on September 15th, Ghirardelli Square, San Francisco, CA.

Solo show at Hawk & Hive, 5/6 - 6/11, 2023

I am excited to announce my solo show State of Being at Hawk & Hive in Andes, NY. Please join me for the opening reception on May 6th, from 2PM to 6PM. Looking forward to seeing you there!

Intersect Palm Springs 2023

Thrilled to have shown at Intersect Palm Springs with Timothy Yarger Fine Art and find a new home for my work.

Art Miami 2022 with Timothy Yarger Fine Art

I was thrilled to show my work with Timothy Yarger Fine Art at Art Miami 2022 along with a roster of fantastic artists Jeff Quinn, Mads Christensen, Pancho Luna, and Aldo Chapparo from 29 November to 4 December.

Works on 1st Dibs →

A few of my works from A Moment in Time exhibition are on sale at Anderson Contemporary on 1st Dibs!

Please check them out through the link above.

Artist in Conversation at Anderson Contemporary, March 25th, 2021 →

On March 25th, Lowell Boyers, Andrei Petrov, and Minako Iwamura with Ronni Anderson as moderator held an Artist in Conversation event at Anderson Contemporary. Please take a look at the lnstagram link above ( Please excuse the sideways orientation!)..

EXODUS V : AESTHETICS IN THE POLITICAL at WhiteBox Harlem

I am pleased to announce my participation in the group exhibition EXODUS V, emigre artists and the New York Vanguard : AESTHETICS IN THE POLITICAL curated by Kyoto Sato.

“..all New York based emigre Japanese women artists included in this exhibition have kept, through thick and thin, rain or shine, making art absorbing or inspired by this Metropolis’ complicated social shenanigans of late with a distinctive personalized way, oftentimes radically fusing Japanese and Western visual expressions, always pursuing their singular aesthetics in a time of inescapable deep political divisions in their adopted Republic. This exhibition will showcase recent works made during the COVID19 pandemic alongside a few key historical art milestones befitting the moment.” - Kyoko Sato

WhiteBox Harlem 213 East 121st Street, New York, NY 10035 Opening Reception : November 21, 6-8PM Exhibition on view : November 14 - December 6

A Moment In Time, group exhibition at Anderson Contemporary

After a long postponement, I am pleased to announce the opening of a group exhibition A Moment In Time, “an abstract meditation through time, space, movement, form, color and light,” at Anderson Contemporary with artists Lowell Boyers, Linda Brosterman, and Andrei Petrov. Opening reception on November 19th, by appointment only. Please contact me to be on the list, or for future private viewing.

Anderson Contemporary 180 Maiden Lane, New York, NY 10038 www.andersoncontemporary.com

Foam, 2018 Oil, acrylic, and white charcoal on paper 48”h x 42”w

Press on Downtown Alliance

Please check out the following link for a mention of A Moment In Time exhibition!

Postponed : 'A Moment In Time' exhibition

In trying to do our small part to protect our fellow New Yorkers, we have decided to postpone our April 2nd opening and exhibition of A Moment In Time. We will send a new date as soon as we have a better assessment of the situation.

A Moment In Time at Anderson Contemporary, Opening on April 2, 2020 6-8PM

Featuring works of Lowell Boyers, Linda Brosterman, and Minako Iwamura.

Anderson Contemporary 180 Maiden Lane, New York, NY 10038

Open Monday-Friday, 11AM-6PM

Linda Brosterman

In her latest series, Waves: A Moment in Time, LG Brosterman explores the power and beauty of the ocean through the abstract forms created by waves as they crash. With each piece, she tries to capture the perfect randomness of the never ending, eternal, action of the ocean. Using 20-30 layers of paint, and the ironically precise placement of every color, splash and droplet, her abstract expressions remind us of the awe-inspiring, infinite, artistry of one of the great natural phenomenon. Each of LG’s paintings utilize a range of different techniques and mixed media, including watercolor, acrylic, and gouache. The finished work treats the viewer to a cohesive, unique, vision of the majesty of the subject. A millisecond of pure energy is preserved for all time.

Lowell Boyers

Lowel Boyers’s paintings are explorations of how multiple images can take shape and evolve on a surface. Each work is an amalgamation of forms—bodies, architecture, landscapes, and animals—that are not immediately recognizable or fully articulated. The themes are sometimes loosely autobiographical. In his own words, his paintings are “manufactured and manipulated chaos,” in which “nothing is accidental.” He also asserts that time does not exist in his paintings, because each image is a collage of moments. Boyers experiments with mixing the effects of various techniques, including applying paint though pouring and spilling, as well as with a brush. Boyers also paints with mixed mediums, including acrylic paint, ink, and resin watercolor.

Minako Iwamura

Minako’s current works on paper and wood panels are an exploration of geometric patterns, incorporating fractals in its pictorial structure and evoking elements in nature. She is interested in dualities - the coexistence of geometry and nature, singular and the collective, premeditated delineation and intuitive movements, parameters and chaos, to name a few. Through them, she portrays a particular state that hovers in a precarious spot of in-betweeness to evoke the untethered and openness.

Fractures in Serenity at Lorimoto Gallery, 1/18 - 2/9, 2020

Lorimoto Gallery is pleased to start off the New Year with an exhibition - Fractures in Serenity featuring artworks by Habby Osk and Minako Iwamura.

Habby Osk is a sculptor who’s engages gravity into her work. Simple geometric masses in form of a sphere , cylinders and cubes are carefully balanced and displayed. Viewers are confronted with precarious compositions that can easily become disrupted. Each sculpture is a sensitive composition of balance andstability. Osk’s work is a contrast of permanence and frailty. Objects cast in concrete possessing stability and weight are placed in a manner that could be lead to destruction with the slightest change of weight distribution. Osk’s sculptures are always under tension . A tension that suggest the fine line or the frailty that lies between quiescence and chaos. Osk is originally from Iceland and currently a recipient of the prestigious ISCP Studio program for 2020.

Minako Iwamura’s work is a delicate balance of serenity and emergence. Constellation like etchings and lines emerge on a background that resemble the sky at daybreak or at night. Each pattern is meticulously placed , some paying homage to her Japanese heritage. Iwamura’s paintings exude a spiritual undercurrent , as if the lines and patterns are the consciousness and the quiescent background is the unconscious. There is a strong presence of duality in her art . A stoic execution of parameters versus the intuitive free forming or nature versus geometry. A duality which illustrates the state that hovers in a precarious spot of in-betweenness and the untethered.

Both artists are stylistically diverse, however both possess bi-cultural backgrounds and their works suggest a sensitive balance of two states. The unifying factor is the presence of a fine physical line - symbolically a force in which keeps the two states at an equilibrium. If serenity were a thin sheet of glass, Osk and Iwamura’s work represent a faint fracture present, yet staying dormant and maintaining the peace.

Fractures in Serenity will open on the 18th of January from 6PM and will be on view each weekend from 2-6PM or by appointment.

Lorimoto Gallery 1623 Hancock Street, Ridgewood, NY 11385

NY / 2020 Flat File at Tiger Strikes Asteroid, available until November, 2020

The 2020 Flat File: Year Seven

On view November 22 – December 15, 2019

Reception: Friday, November 22nd, 6pm – 9pm

Hours: Saturdays and Sundays 1pm – 6pm and by appointment

1329 Willoughby Avenue, #2A, Brooklyn, NY 11237

Brooklyn, NY – Tiger Strikes Asteroid New York is pleased to present an exhibition launching our 2020 Flat File program. Chosen from an open call that attracted a diverse range of artists, the 19 selected represent an array of approaches towards flat media: drawing, collage, painting, printmaking, photography and artist books. In many cases the selected works are emblematic of an artist’s core practice, for others, they represent vestiges from studio processes, and some works present experimentation and a departure from a larger body of work. The small-scale format presented in our program presents an elastic site for play and exploration. During this exhibition, and throughout the year visitors are welcome to browse and acquire

artworks from the flat file. Individual pieces from the program will be selectively highlighted throughout the year. All works can be viewed on our website.

The 2020 Flat File features works by: Eleanna Anagnos, Rosaire Appel, Mitchell Barton, Rachelle Bussières, Robin Crookall, Sadia Fakih, Asuka Goto, Steven Hampton, Minako Iwamura, Vaughan Larsen, Eric Larson, Nicholas Moenich, Dan Oliver, Rowan Renee, Kara Rooney, Will Sears, Charles Sommer, Jason & Leslie Urban & Mutchler, and Ilana Zweschi. This year’s flat file was organized by Yael Eban, Rachael Gorchov and Andrew Prayzner.

Tiger Strikes Asteroid's 2019 Exhibition Program is sponsored, in part, by the Greater New York Arts Development Fund of the New York City Department of Cultural Affairs, administered by Brooklyn Arts Council (BAC).