Basel Preview: Wed., Dec. 1, 10 am -2 pm
Breakfast reception: Thurs, Dec. 2 - 10 am -1 pm
Regular Hours Daily: Dec. 2 - 5: 10am - 7 pm
Venue: ZONES ART FAIR www.zonesartfair.org
Edge Zones Art Center | 47 NE 24th St. | Miami FL 33137| 305 303 8852
Rita Bard | David Leight | Rafael Lopez-Ramos | Charo Oquet | Raul Perdomo | Brian Reedy | Freddy Rodriguez | Eduardo Sarmiento | Kari Snyder | Angel Vapor | Pedro Vizcaino | Gretchen Wagoner
Art Critic Kim Russo says about Rita Bard’s work, "Like the artist Philip Guston (who died in 1980), Rita Bard fails to abandon abstraction for figuration or figuration for abstraction. Instead, the two modes of explaining the world slosh around together in ways that are exciting and disturbing, illuminating and stupefying. Bard is a consummate formalist. But what's even better is that Bard's work mimics the (mixed-up and yummy) Jell-O salad of contemporary life, and that is both observant and brave. Her work is a picnic of tenderness, humor and honesty.”
The works of another artist in the show, Angel Vapor, is described this way: "Vapor crafts his exquisite pieces out of bronze, clay, and oil paint, but in these constructions there is always a tension. That's part of the beauty of his work; the materials and references are rigid and hard, but the ultimate result feels more fragile and fluid. Like in a delicate piece, a small sculpture made of bronze, where a disembodied arm protrudes from the wall -- clearly a woman's arm -- and from her fingers hangs a missile, but ever so tenuously, as it is only string that ties the two together. Life and death are hanging from a thread.
Strings attached to a hand reveal another aspect of process, that of the manipulator of lives and society,” says arts writer Anne Tschida.
Of his bright paintings and detailed drawings, Eduardo Sarmiento says: “My work is an evolving self-portrait, a song to personal tensions and obsessions. Before art, it was sex that seduced me. It was my bridge, an indescribable experience that transported me to eternity. I’ve found the erotic is ... a predecessor to everything else. This inspires my work to revolve around the human impulse, the fall and resurrection of man, his Gomorra and his Eden. “
Gretchen Wagoner describes her work thus: “This series was driven by a fascination of butterflies and knots. My interest lies in the delicate yet resilient characteristics of a butterfly as opposed to the robust and stabilizing mechanisms of a knot. Natural examples of conformity and a deviation, both are symbolically used to describe physical characteristics brought on by strong emotional reactions. Having butterflies or knots in your stomach may physically feel similar, but evoke completely different emotional connotations.”
Rafael López-Ramos turns “this landscape of kitsch upside-down,” according to art critic Alfredo Triff. “His paintings are like little oases of the banal. Detailed, zoomed in, and magnified, a single focal point reflecting the richness of concomitant spaces. These colorful cityscapes offer something unique to the artist’s eye: A rowdy distortion on a chassis, an optical illusion reflected on a side-mirror, or just a cool play of reflections on a wheel-rim.
In her art statement, Kari Snyder writes: “I draw on my own experiences, friends and family to create prints. I use portraiture to capture the essence of those around me and I use collage and assemblage to create a world for my prints to exist in. Although my work deals with my own relationships and specific situations, I believe it represents and speaks to a larger audience. Working as a loose narrative, not unlike family photos or memorabilia tacked to a wall, the separate pieces come together and tell a larger story. These prints are like snapshots, glances, details, and blurs of the people and things that go on around us in our daily lives. “
Ernesto Oroza, Cuban artist and writer, writes about the work of Charo Oquet that "either the color, shape, or collage have a cumulative sense, a constructive something that has been developed and self-generated at different levels. This accumulation of fragments end up structuring the large installations, painting, or drawing."
Freddy Rodriguez says: “The paintings in this exhibition, like the series ‘De la Nada a la Nada, Painting about Nothing’ are on birch plywood, a support I never used before. I cut shapes and lines into the plywood and I poured paint on it. I loved the way the paint ran on the plywood. I used two different types of tools to move the paint around, and this resulted in two different painting styles.”
In the tradition of printmakers such as Honore Daumier and Jose Guadalupe Posada, Brian Reedy’s artwork portrays social satire in visual form. His graphic imagery is rife with animals and monsters that dominate the future society of a doomed human race. Reedy’s sensibility reflects a love for medieval art, but his style also displays a strong influence from comics and cartoons. A sci-fi enthusiast, Reedy’s work often illustrates a post-apocalyptic world that is the product of current world issues. Often irreverent in tone, much of the humor in Reedy’s art is derived from Internet memes and Websites that display images of random silliness.
By directly engaging the utopian ideals anticipated in science fiction and cultural expressions of the 21st century with the most recent speculations gaining scientific currency, Raúl Perdomo’s series examines the paradoxical quest of redefining meaning lost in a time of phenomenal technological progress and supreme dominance of the information media. “Using a confluence of visual conditions, I am trying to create an imagined language, which charts the consequential interrelatedness between structured orders and chance randomness.”
Of his current works, Pedro Vizcaino says they are a “symbol of movement, speed, and migration. The gun denounces violence in relationship to gangs and war; and the tank functions as a metaphor against war and the anti-human character of weapons. Cell phones and cars are status symbols that [spotlight] consumeris and the mentality that a person is the car he/she drives.
“Although these symbols are culturally and historically specific, they reflect my interest in the connection between local and global violence.”
Edge Zones is an artist and volunteer - run contemporary arts non-profit dedicated to the research, conceptualization and execution of events that strengthen the contemporary art environment in Miami. EZ seeks to making contemporary art accessible, engaging and to create a focal point for international research and awareness. Edge Zones is committed to assist local artists from diverse economic, social, and cultural backgrounds in their creative production and disseminating their professional development in national and international forums by establishing a strong regional exchange network connected to the rest of the world.
For more information contact: Charo Oquet
305 303 8852