Non-objective art is one of several means of transcendence of the objective, practical modern world. For John Germain, painting becomes by default an interior, subconscious journey. It is in this way that he creates forms that comply with his sensibility; where material, means and content converge. He utilizes his inconclusive yet fascinating process as an exhilarating means to self-discovery; a record of choices made over periods of time, physical and psychic visual residue.
In recent work Bradley Wester returns to the painterly gesture describing an illusionistic image on canvas. However, these new paintings are meant to be quotations of familiar images, in this case, Japanese motifs and decoration. He treats these motif-paintings simply as another everyday material or image-object that he combines with other recognizable objects to make art. He inserts and arranges them as one component of many, inside what he calls a cluster. Bradley sees each cluster as an individual and complete work of art that relates. The intention is to equalize the value of the familiar Japanese image with the common, everyday objects he uses. He treats these cluster-pieces, or pods of visual narrative that radiate out to other pod-narratives and that can be seen to mirror our hyper-linked digital age, with no start or finish, and no linear historic narrative.
Ekaterina Narciso's, work concerns deconstruction of space found in contemporary abstract painting today. Fragments of brightly colored shards migrate in and out of picture planes echoing systems, pattern and state of flux found in nature. Kaleidoscopic portals and streams of flowing color touch upon the perceptions of recognizable image occasionally hinting at the landscapes or the city, as well as referring to the elements of nature and space.
Through the use of drawing, small mixed media objects, and painting Ileana Tolibia struggles to understand the synchronization within the unbounded space. Her transformative, organic and aerial paintings attempt to translate images of her subconscious combined with emotions and associations into a conscious language of meaningfulness.
George Bethea's uses acrylic paint, gels, sand and other textural elements to express himself through color, surface, and design in his attempt to make paintings that are beautiful and full of life.
Julie Davidow creates contradiction, which are inherent to her work. A struggle to control and relinquish are persistent drives in her process. At once measured and defined, she embraces chance through pliage. The folds and scores in the canvas yield an aleatorical ground. Space, organization, pattern seeking, discerning solution guide a precise, meticulous investigation to map the visual information and establish structure. It is a search for the gestalt. The imagery is drawn from biological, sexual, botanical, geological, cartographic, and architectural influences; and an overall concern with the conflicts between the natural and the built environments.
Kathleen Staples paints wet on wet with fluid paints suspended in acrylic medium, obtaining a variety of transparency and texture. Each layer interacts with the layer underneath and the one above, and layers of wet paint laid down at different stages of dryness create different surface effects. She uses colors as the "soul" of the painting, an intuitive expression of her feeling.
Terri Lindbloom takes an inter-disciplinary approach. Working predominantly within multi-media installations. His conceptual work can be at times minimal and terse. In some of her "text" drawings she has been investigating the internal "chatter" within the mind, editing it down to a few sound bytes. The creative roots of her installations come from her drawing investigations, which need each other for their evolution.
Charo Oquet is interested in introducing a sense of intense chaos in her paintings, in some areas that are later covered and controlled, connected to "action paintings". Her delivery is a sophisticated blend of complex overlapping layers and compositions.
Kerry Ware's paintings exhibit subtle shifts of color on scrubbed surfaces. The work is infused with color similar to frescos - using painting as a source of spiritual nourishment that goes beyond labels, language, gimmicks and glitz.
There will be an opening reception for Abstract on Saturday, April 9, 2011, from 2pm - 10pm. Meet the artists from 7- 10 pm at Edge Zones Art Center, 47 NE 25th Street, Miami, Florida.
The exhibition encompasses a selection from Tolibia's most recent work. "Earth's Fertility" or "La Fertilidad de la Tierra" portrays a period of transformation, regeneration, and realization of the soul and the mind. In these series of works, biomorphic forms sprout from the earth hovering like butterflies, pushing limits, adjusting, and challenging its environment.
Just as nature has its transitions and metamorphosis, so does the human psyche. Tolibia uses nature as a reference and way to reconnect our affinity with nature. The period of gestation in these series of works "Earth Fertility" can be sumerized through her main source of inspiration: her fascination with the dream state; her research and studies of ancient cultures; mythology; metaphysics; psychology and her continue devotion to writing sum up a period of gestation in these serie.
Through an open-ended process, the imageries in these artworks find an intimate or distant relationship with their surroundings, rather than fitting in within a structural frame.
Tolibia had previously exhibited at Edge Zones in 2007. Born in Cuba, she studied at the prestigious San Alejandro Fine Arts Academy. She received BFA from New World School of the Arts. Her work has been shown extensively, and she has been widely recognized for her artistic projects that serve the local community.
There will be an opening reception for "Earth's Fertility," on Saturday, April 9, 2011, from 2pm - 10pm. Meet the artists from 7- 10 pm at Edge Zones Art Center, 47 NE 25th Street, Miami, Florida.
47 NE 25th St.
Miami, Fl 33137
Tel. 305 303 8852
305 576 4001