Calendar

Events and Exhibitions

Analog Divergence
Sep
14
to Oct 26

Analog Divergence

September 14 - October 26th, 2018

Suzy O'Mullane and Mauricio Vergara

Analog Divergence

 

A closer look at two Contemporary European artists using animal symbolism to explore the human condition through surrealism figurative paintings.

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Jared Boechler | On Tipped Chair
Jun
2
to Jul 7

Jared Boechler | On Tipped Chair

 Boechler is a contemporary visual artist working with scent in his practice as a means to emphasize the important and formative roles that scent plays in the lives of individuals. His current body of work pairs custom designed scents, ranging from lemongrass to burnt rubber, alongside the original oil paintings that they inspired. This olfactory outlet presents a multi-faceted viewing experience, allowing for the continued exploration of the ties that exist between two-dimensional art and scent influence on the individual. Using traditional methods in sharp contemporary context, Boechlers paintings confront themes such as mental illness and loneliness with an often subtle execution, resulting in works depicting circumstances that are at once banal and dramatic. Boechler exhibits internationally, most recently presenting as the youngest artist at NordArt in Germany.

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Simpatico
Apr
6
to May 26

Simpatico

Relationships, like nature, properly cultivated blossom into healthy new growth. Simpatico is an archetypal co-curated exhibition between Alix Sloan - Sloan Fine Art- and Lori Johns - Phylogeny Contemporary. Colleagues for almost a decade in the art fair industry together join together for the exhibition in celebration of collaborative and professional compatibility. These two curators affinity extends to these three showing artists.  Artwork between these three complements each other with no prior working knowledge. As well individually each is divergent. 

Simpatico

 

Phylogeny Contemporary

2718 Elliott Avenue

Seattle, WA 98121

Gallery Phone (206) 485-7498

Curator Contacts: alix.sloan@gmail.com or

lori@phylogenycontemporary.com

 

April 6 – May 26, 2018

Opening Reception Friday April 6, 2018 5 – 8 PM

Coffee/Tea with the Artists Saturday April 7th 12 – 2 PM

 

Gallery Hours:

Thursday, Friday and Saturday 11AM – 6 PM or by appointment

 

Relationships, like nature, adequately cultivated blossom into healthy new growth. Simpatico is an archetypal co-curated exhibition between Alix Sloan - Sloan Fine Arts- and Lori Johns - Phylogeny Contemporary. Colleagues for almost a decade in the art fair industry together join together for the exhibition in celebration of collaborative and professional compatibility.  These two curators affinity extends to these three showing artists.  Artwork between these three complements each other with no prior working knowledge. As well individually each is divergent.

 

 

JULIA MARCHAND

 

Using references from wildlife dioramas, public gardens and personal experience Julia Marchand explores themes of nature and identity in her artwork. Her paintings and works on paper have been exhibited in galleries in London, New York, Los Angeles, Seattle, San Francisco and Mexico City. Marchand studied painting at San Francisco Art Institute holds a BA in Art History from American University in Washington DC and a Master’s degree in Art Education from Boston University. Currently, she lives and works in Alameda, CA.

 

DEIRDRE    SULLIVAN-BEEMAN

 

Deirdre Sullivan-Beeman is a self-taught figurative and contemporary surrealist painter. She uses modified oil and egg tempera techniques of the 14th century Old Masters to create works of magical realism that seem to glow from within.        Celebrating the hard-earned wisdom of childhood, Sullivan Beeman depicts subjects who are often young, hauntingly innocent, and teetering on the edge of naïveté and what lies beyond. The narratives, symbology, and illumination in her pieces emerge from someplace subliminal, a conjured realm of magic, mysticism, and mystery. She uses her personal dream journal to inspire her artwork, exploring Jung’s collective unconscious with an overt curiosity for the bizarre and the esoteric, especially alchemy, the tarot, and spirit daemons.       

 

Sullivan-Beeman’s work has been shown at Aqua Art Miami, FL; C Emerson Fine Arts in St. Petersburg, FL; Corey Helford Gallery and La Luz de Jesus Gallery in Los Angeles, CA; Stephen Romano Gallery and Gristle Gallery in Brooklyn, NY; Phylogeny Contemporary, Seattle, WA; Greg Moon Art in Taos, NM; Merlino    Galleria d'Arte Contemporanea, Florence, Italy; the Life Is    Beautiful  Music and  Art Festival in Las Vegas, NV; and Art! Vancouver, BC, Canada.  She holds a BFA, in Cinema/Television Production, from the University of Southern California, and splits her time between Los Angeles, and Vancouver.

 

LIZ TRAN

 

Channeling subjects such as dream imagery, imagined landscapes, geodes, outer space and The Big Bang, Tran explores the shapes of nature, with the infusion of fantastical, pulsing synthetic hues. The psychedelic visuals are harvested from the place where inner-verse meets outer-verse, where optical misfires combine with a vacuum pull moving at the speed of light. Through painting, sculpture and installation, she creates atmospheres that aim to activate.

 

Public collections of Tran’s work include the City of Seattle's Portable Works Collection, Capital One, Vulcan Inc., Baer Art Center, Camac Art Centre, The El Paso Children’s Hospital, Harborview Medical Center, The King County Public Art Collection and The Child Center. Tran has completed multiple special projects and installations, including work for VH1Save the Music Foundation, The Seattle Art Museum, The Brain Project Toronto, Public Art at The Aqua Art Fair Miami and Vulcan Inc.

 

She has been awarded multiple fellowships and grants; including a Grant for Artist Projects (GAP) from Artist Trust, Clowes Fellowship for residency at the Vermont Studio Center, the Nellie Cornish Scholarship and residency at The Camac Art Centre in France, The Baer Art Center in Iceland, Jentel, Millay Colony for the Arts and The Center for Contemporary Printmaking. She resides in Seattle, WA.

 

 

Julia Marchand

Deirdre Sullivan-Beeman

Liz Tran

 

group.jpg
  Deirdre Sullivan-Beeman

Deirdre Sullivan-Beeman

  Liz Tran

Liz Tran

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 Renee Adams : Reclaim Opening Party
Feb
23
5:00 PM17:00

Renee Adams : Reclaim Opening Party

  Toadstool  ,  wood, found chair, epoxy clay, acrylic paint, flocking, dried moss, 31”x26”x24”,

Toadstool, wood, found chair, epoxy clay, acrylic paint, flocking, dried moss, 31”x26”x24”,

  Fireweed,  inkjet print, 33”x22”,

Fireweed, inkjet print, 33”x22”,

  Gas Plant,  inkjet print, 15”x22”, 

Gas Plant, inkjet print, 15”x22”, 

 Reclaim

Renee Adams                                                   

Humanity’s imprint on nature is undeniable. Most scientists maintain we have now entered the Anthropocene, a term based on overwhelming global evidence that human activities are having a significant impact on all of the earth’s ecosystems. My work investigates the complicated relationship we have cultivated with the natural world, recognizing that our desire to control, covet, manage and exploit it has created a power struggle in which I believe nature will ultimately win. Through my work, I weave the historical relationship of human and planet with my environmental observations in an attempt to underscore our absolute reliance on the natural world while imagining new connections that might emerge.

My mixed media sculptures represent an artificial reality in which the wheels of evolution have surpassed the current day.  These works, within the context of natural selection, offer an escapist fairytale or a botanist’s fantasy where plants require little more than the trash of humankind to thrive. Lauding the resiliency and adaptability of life on earth, my works imagine a world in which plants are reclaiming their rightful home, adapting, evolving, and possibly even healing the woes of humankind.

Inspired by the flora and fauna that surrounds her home in the small, unincorporated town of Thorp, WA, Renee Adams creates delicate mixed-media sculptures and small-scale egg tempera paintings. As a founding member of PUNCH Gallery, an artist-run space in downtown Seattle, WA, she remains active in the regional art scene. She received a BFA in metalsmithing from Colorado State University in 1995 and an MFA in sculpture from Central Washington University in 1999.  

  

Living in rural central Washington, Renee puts her master gardener skills to work in her own backyard. She enjoys hunting for mushrooms and backpacking the woods of the Pacific Northwest, peppered with trips to explore cultures abroad. 

EDUCATION

1999Master of Fine Arts - sculpture emphasis, Central Washington University - Ellensburg, WA 

1995Bachelor of Fine Arts - metalsmithing emphasis, Colorado State University - Fort Collins, CO 

 

SOLO and TWO-PERSON EXHIBITIONS 

 

2016Peaceable Kingdom – Oak Hollow Gallery – Yakima, WA (with Justin Gibbens) 

2015Windows Alive - Window Installation – Jem Building, Yakima, WA 

2013Are we not drawn onward to new erA - PUNCH Gallery - Seattle, WA (with Justin Gibbens) 

Wonderland - The Brink - Missoula, MT (with Justin Gibbens) 

2011Peaceful Death and Pretty Flowers - PUNCH Gallery - Seattle, WA (with Justin Gibbens) 

2010Poison Pie - PUNCH Gallery - Seattle, WA 

2009Curious Species - Burien Arts Center - Burien, WA 

In Between - PUNCH Gallery - Seattle, WA (with Amber Stucke) 

2008Corsage - Swarm Gallery - Oakland, CA  

2007Under Fragile Skies - Palo Alto Art Center - Palo Alto, CA & PUNCH Gallery - Seattle, WA  

2004             Window Dressings - Tacoma Contemporary Woolworth Building - Tacoma, WA 

                           No Stone Unturned - Allied Arts Gallery - Yakima, WA 

Coming Round - Gallery Blue - Missoula, MT 

2003The Human Game - Gallery One - Ellensburg, WA 

 

GROUP EXHIBITIONS 

 

2016Natural Causes - CASS Contemporary, Tampa, FL 

2015Metamorphosis - Larson Gallery, Yakima, WA
Seattle Art Fair, PUNCH Gallery Booth - Seattle, WA 

Aqua Art Fair, C Emerson Booth - Miami, FL
Mythology – Confluence Gallery, Twisp, WA 

Bellingham National - Whatcom Museum, Bellingham, WA - Juried by Scott Lawrimore
Wunderkammer – Foss Waterway Seaport, Tacoma, WA - Curated by Lisa Kinoshita 

Imaginature - Kirkland Arts Center, Kirkland, WA - Curated by Grant Barber 

2014Gallery One Staff & Resident Artist Exhibition - Gallery One - Ellensburg, WA 

2013Chamber Music - The Frye Art Museum - Seattle, WA – Curated by Scott Lawrimore 

Art on the Wall - Capital Theater - Yakima, WA  

2012                    Make Space - Steele Gallery, Gage Academy - Seattle, WA 

The Art of Seduction - Rouse Gallery - Howard Community College  - Columbia, MD - Curated by Gail M Brown 

                            Evolutionary Insights - Worth Ryder Gallery - UC Berkeley, CA 

From the Ground Up - Larson Gallery - Yakima, WA 

201110x10x10xTieton Juried Show - Mighty Tieton Warehouse - Tieton, WA  - Juror’s Award 

2010Call of the Wild - The Brink Gallery - Missoula, MT 

Country Cousins: An Exploration of Contemporary Frontier Myth - Evergreen State College, Olympia, WA  

2009Art Meets Math and Science - North Seattle Community College - Seattle, WA 

2008Aqua Wynwood - Miami, FL 

Nature Freak - Kirkland Art Center - Kirkland, WA  

Homegrown PUNCH Gallery - Seattle, WA  

Beyond Boundaries - Larson Gallery - Yakima, WA 

2007 A Feminine Mystique - Simon Edwards Gallery - Yakima, WA 

2006As the Crow Flies - Tacoma Contemporary Window Dressings - Woolworth Building - Tacoma, WA 

                            Creature Comforts - Gallery One - Ellensburg, WA 

Artist Trust Grant Recipients - Chase Gallery - Spokane, WA 

                            Round One - PUNCH Gallery - Seattle, WA 

                           Second Nature - Simon Edwards Gallery - Yakima, WA 

 

 Columbine

Columbine

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Suprematism, Constructivism, Futurism : Friction, Destruction, Invention, Vision
Sep
7
to Oct 28
art

Suprematism, Constructivism, Futurism : Friction, Destruction, Invention, Vision

Motivated Art
Art Motivates
 
Communicates
Societal Concerns

Art, as reflected through the lens of Suprematism was an innovative approach to making objects, one concerned with breaking entirely from the traditional artistic concern with composition, and replaced it with careful technical analysis of modern materials. 

The Futurists focus was to explore problems of representing current experience and strived to have their paintings evoke all kinds of sensations - and not merely those visible. 

"Suprematism, Constructivism, Futurism: Friction, Destruction, Invention, Vision" is the inaugural group themed exhibition for Phylogeny Contemporary's permanent Seattle gallery home.  The selected artists were chosen each for their specific and careful response to the vague and historical query. Several artists responses were perfect representations of the period of art history. Others took the challenge to continue the movement to current societal viewpoints of obsolescence and identity.

Art created for the purpose social inquiry can communicate and confuse. The perspective is all within the viewer. The answer may even be written neatly next to the work of art to describe the very intention of the work of art. Individual response will be personal. Phylogeny in its definition is the evolution of a concept or idea. 

Art all chiefly requires the participation of the beholder for full potency.

Please join us throughout this exhibition for a series of events culminating in an on-site Philanthropic Incubator Laboratory.


Opening Wednesday, September 6, 5-8 PM
Exhibition Runs through October 28, 2017

P.I.L.  September 22 & October 20th 5-7PM

New Fall Extended hours:
Wednesday 2 - 6 PM
Thursday 11 - 7 PM
Friday 11 - 7 PM
Saturday 11 - 7 PM

phylogenycontemporary.com

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Suzy O'Mullane : Be Still
Aug
2
to Sep 2
art

Suzy O'Mullane : Be Still

Heart and Hummingbird, oil on primed paper, 25.5_ x 19.5_, 2017.jpg
Uigneas copy, 50 x 35cm, Comp charc and oil crayon on paper, 2017.jpg

 

Suzy O’Mullane Be Still

August 3 - September 2, 2017

VIP Preview Wednesday August 2, 2017 5-7PM

Light refreshments and drinks

 

Opening Reception August 3 5-7 PM

 

Brunch with the Artist Suzy O’Mullane Sunday August 6, 2017 11AM – 1PM

 

Phylogeny Contemporary

2718 Elliott Avenue Seattle WA, 98121

(206) 485-7498

 

Be Still is a series of new works on paper and canvas executed in France and in Ireland. These works form a loose narrative reflecting ideas about the human condition: how we feel about ourselves, how we communicate, our needs and desires, how we place ourselves in society, how we are affected by fate and free will. The eyes reveal the secrets to the soul. We can communicate an entire universe of power and intent through silence, how the heart gets broken and how it heals, how the world propels onwards continuously, how we connect and disconnect. We are capable of great beauty and innocence, but also of cataclysmic destruction.

 

These paintings communicate our experience, through gesture and gaze, mainly using human and animal depiction. They highlight our innocence and our desires. At a time of mass communication, external noise, seething masses, sometimes it is enough just to be still.

 

Biography

 

Suzy O’ Mullane is a visual artist who has been practicing and exhibiting consistently in Dublin, London, NY, Berlin and LA since 1996. Throughout her practice, she has developed and employs multiple encoded forms that have become personal allegorical references. Her work conceptualises emotional experience, personal and societal identity, and memory through the mediums of painting, drawing, video, performance and writings.

 

O’ Mullane’s work conceptualises emotional experience and memory, relating to a particular identity, place, memory, or personal connections. Formally, her paintings and drawings are executed in oil and charcoal on canvas or paper. Scale oscillates between very large (maximum 7ft x 10ft) and small/intimate. Her video, collaborative and performance work supports and intersects with the 2D work, and relies on written narrative and layers of associated imagery.

 

O’ Mullane was educated at UCC (BA English) and Crawford College of Art and Design (BA Fine Art (Hons) and Post-Grad. She is co-founder and former director for 6 years of ArtTrail Cork, Cork. Notably, her work has been presented at Context NYC, Art Miami, Art Toronto, Art Chicago, Art Wynwood, Art Palm Beach, Aqua Miami as well as in many solo exhibitions. She has held solo exhibitions at Skotia Gallery, LA, Crawford Municipal Gallery, Cork, Triskel Arts Centre, Cork, Solstice Arts Centre, Navan, Ireland, Siamsa Tire Arts Centre, Tralee, Blueleaf Gallery, Dublin, and Origin Gallery, Dublin. Her work is represented in many public and private collections in the US and Europe, including Crawford Municipal Gallery, TCD, UCD, UCC, and OPW.

 

Recent, current and forthcoming projects since 2016: Irish Wave: The Birth of a Nation, Identity, Struggle, group exhibitions (by invitation), Beijing and Shanghai, March - April 2016, The Seduction of Cathleen Ni Houlihan, solo exhibition, The Origin Gallery, from April 28, 2016, Context Art Fair, 3 - 8 May 2016, The Wounded Deer (invited artist) Melbourne, September 2017. Boyle Arts Festival (invited) July 2017. Aqua Miami December 2016 and Solo Exhibition with Phylogeny Contemporary Gallery, Seattle, August 2017

 

O’ Mullane is currently represented by J Cacciola Gallery NJ, The Origin Gallery Dublin and Phylogeny Contemporary Gallery Seattle. Also Pierogi Gallery NY flat files.

 

Critical essays and Reviews (selected):

Essays

Sean Kissane (writer and curator IMMA): Signs, Suzy O’ Mullane, Publ. Blueleaf Gallery, 2010

Pritika Chowdry (writer and curator University of Wisconsin): Suzy O’ Mullane: A Visceral Encounter, Publ. Blueleaf Gallery, 2010

Alastair MacLennen (former Head of MA at Ulster University, performance artist): Reflections on the colour of Love and Loss, publ. Triskel Arts Centre, 2005

Dr. Michael Casey(art historian and curator), Understanding the Colour, publ. Triskel Arts Centre, 2005

Jane Ross (art historian and curator, Toronto, Canada) Tempest, publ. Blueleaf Gallery, 2011

Peter Murray, Anatomy of Discomfort catalogue essay, Blueleaf Gallery, 2001

Catherine Boucher-Beug (American artist and art critic based in Ireland), Drawing Intelligence, Weimar Mouth catalogue, Blueleaf Gallery 2003

Dr. Joachim Beug (retired German professor UCC), Sitting for Suzy, Weimar Mouth catalogue, Blueleaf Gallery 2003

 

Publications

Contemporary Art From Cork C2, Published by the Crawford  Municipal Gallery and Gandon Editions 2005

Backwater Artists: 20 Years in the Bag, published by Backwater Artists, essays by Vera Ryan, 2010

UCC catalogue, essays by Vera Ryan

Imago Mundi Catalogue

 

Reviews (selected)

LA Scene, Skotia Gallery, LA weekly, Dec. 2 – 8, Vol. 34, No. 2, 2011

RTE Radio 1, The Arts Show, May 21st 2009

Aidan Dunne, Art to fill the void created by loss, Irish Times, May 14th 2009

Coagula art Journal, Suzy O’ Mullane At Skotia Gallery, By admin2 | February 9, 2012 - 12:23 pm

Anna Crudge, Art Reflecting Life and Death, Irish Examiner, 21 May 2009

Rosita Sweetman: Haunting Art From the Heart, Irish Times Magazine, May 16, 2009

LA Scene, Skotia Gallery, LA weekly, Dec. 2 – 8, Vol. 34, No. 2, 2011

David Looby, Art in the Heart of Wexford, Wexford Echo (Opera Guide), 2006

Aidan Dunne, Paradise Lost but Atmosphere Found, Irish Times March 2005

Aidan Dunne, Playing all Parts In A Series of Portraits, Irish Times, 10 November 2003

Eoin English, Author Higgins a work of art, Irish Examiner, 23 September 2003

Alannah Hopkin, A Celebration of Portraiture, Irish Examiner, 16 September 2003

Aidan Dunne, Snapshots of a Lost and Quieter Era, Irish Times, July 2001

 

CURRICULUM VITAE

 

Education

1986 B.A. English & Geography, UCC, Cork, Ireland

1994 Diploma Fine Art, CCAD with Distinction

1995 B.A. (Hons.) Fine Art, Painting, Crawford College of Art & Design, Cork, Ireland

1996 Post Graduate in Painting, Crawford College of Art & Design, Cork, Ireland

 

Solo Exhibitions (recent)

2016 In Thrall To Caitlin, solo exhibition, Origin Gallery, Dublin

2015 There Was Nothing Good About Good Friday, Origin Gallery, Dublin

2011 ‘Cherie’, Skotia Gallery, Culver City, L.A.

2011 Gossamer Dress, Cill Rialaig Arts Centre, Co. Kerry

2011 ‘Tempest’, BlueLeaf Gallery, Dublin, Ireland. Opened by Séan Kissane, Head of Exhibitions, IMMA

2011 ‘The Blue Snake in the Shape of Infinity’, Sirius Arts Centre, Cobh, Co. Cork, Ireland.

2010 ‘Your Hair Blows in the Same Way as Mine’, Solstice Arts Centre, Navan, Co. Meath, Ireland

2009 ‘Trajectory Through Time and Space’, BlueLeaf Gallery, Dublin, Ireland

2006 ‘Mick’, Pigyard Gallery, Wexford, Wexford Opera Festival, Ireland

2005 ‘The Colour of Love and Loss’, Triskel Art Centre, Cork, Ireland. Curated by Alastair MacLennen

2005 ‘The Colour of Love and Loss’, Pembroke BlueLeaf Gallery, Dublin, Ireland

2003 ‘The Weimar Mouth’, Solo Show, Pembroke BlueLeaf Gallery, Dublin, and  Crawford Muncipal Art Gallery, Cork, Ireland

2001 ‘Anatomy Of Discomfort’, BlueLeaf Gallery, Dublin, Ireland and at Siamsa Tire, Tralee, Ireland. Opened by Minister for Arts

1999 ‘The Butterfly Girls and Other Works’, Tig Fili Gallery, Cork, Ireland

1997 ‘Suzy O’Mullane: New Work’, U.C.C., Cork, Ireland

 

Group exhibitions, performances, events (selected)

2016 ‘Migratory Pathways and Insistent Ghosts’, video screening, with Julius Kozlowski, IndieCork Film Festival, Ireland

2016 Terra Firma Shorts, Terra Firma, Brooklyn, ‘Migratory Pathways and Insistent Ghosts 1 & 2 with Julius Kozlowski, In Yoko Implode.

2016 Context NYC art fair, with Gibbons & Nicholas Gallery

2016 Birth of a Nation (curated), group exhibition of Irish and Chinese artists at Ning Space, Beijing, Identity at EARC Beijing, and Struggle at Sanwei Art Centre, Shanghai

2015 ‘Migratory Pathways and Insistent Ghosts’, video screening, with Julius Kozlowski, IndieCork Film Festival, Ireland

2015 ’There Was Nothing Good About Good Friday’. Performance collaboration with Harry Moore, The Guesthouse, Cork, Ireland

2013 Tri, 3 person exhibition, J Cacciola Gallery NYC, curated by Ciara Gibbons (director Blueleaf Gallery, Dublin

2013 Art Miami, Art Toronto, with Blueleaf Gallery (Dublin) and J Cacciola Gallery (NYC)

2012 Sea of Exchange: Ireland - Los Angeles, curated by Cathy Weiss, LA Print Space, LA

2012 Still Lifes? With Regine Bartch, Katherine Boucher-Beug and Jane O' Malley. Catherine Hammond Gallery, Glengarriff, Co. Cork

2012 Art Wynwood with BlueLeaf Gallery, Miami, Art Miami, with Blueleaf Gallery

2011 Art Chicago, Merchandise Mart, with BlueLeaf Gallery, Chicago, US , Art Palm Beach, with BlueLeaf Gallery, Palm Beach, US

2010 Art Miami, BlueLeaf Gallery, Miami, US

2010 In Print with Michael Mulcahy’, Urban Retreat Gallery, Dublin, Ireland. Opened by Campbell Bruce.

2010 ‘Michael Quane Selects’, Lavit Gallery, Cork, Ireland. Opened by Alannah Hopkin.

2010 ‘Wildly Different Things: New York & Dublin’, BlueLeaf Gallery/BlueLeaf Unlimited, Dublin. Curated by Ciara Gibbons and Jane Ross, Dublin/ Karim Hamid, Andreas Kuefer, Giulia Coccia and Elena Avesani, New York

2009 ‘Expressions and Revelations’, BlueLeaf Gallery at the Menier Gallery, London, UK

 

Collections

UCC

UCD

TCD

OPW

Crawford Municipal Gallery

Private collections in Ireland, USA, UK, Germany

 

Commissions, Grants, Awards

Portrait of Aidan Higgins Crawford Municipal Gallery, private commissions

Artflight, Arts Council of Ireland 1998

Culture Ireland for Art Toronto (through Blueleaf Gallery) 2011

Culture Ireland for Art Miami (through Blueleaf Gallery) 2013

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Mauricio Vergara Solo Exhibition
Apr
20
to Jun 10
art

Mauricio Vergara Solo Exhibition

Mauricio Vergara was born in Rio IV, Córdoba, Argentina, in 1971.He is a self-taught painter. He has been painting since the early 90’s. He is currently living in Pamplona (Spain)

A Rioplatense poet ponders:

Where is my life that which it could have been, and it never was?

As he does, I ask myself, who I am?Where is my life? Where is the person who I once was? Where are those who are not anymore? Where will I be? Who will I be?

Time changes us, but there is something that always remains. We leave what we were; we look at the past, and we don´t recognise ourselves. But, we are them, changed by our deaths and our lost illusions that will keep us changing.

Mauricio’s characters without face and body want to be an invitation to the spectator to make these questions theirs and to encourage them to participate in finishing the paintings.

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Aqua Art Miami
Nov
30
to Dec 4

Aqua Art Miami

 

 

Phylogeny Contemporary’s objective for Aqua Art Miami gently guides the viewer through conceptual responses to the personal and collective human condition. Art is reactionary, yet playful, contemplative and aesthetically sublime. There are eight established featured artist and a small sub-section dedicated to new collective of artists named A Constellation.

 

A Constellation

Renee Adams

Mo Cornelisse

Justin Gibbens

Vasily Kafanov

Suzy O’Mullane

Kuet Stallaert

Liz Tran

Mauricio Vergara

 

Renee Adams

Humanity’s imprint on nature is undeniable. Scientists claim we are now entering the Anthropocene - a term that credits the evidence and extent to which human activities have had a significant global impact on the earth’s ecosystems. My work delves into our complex relationship with the environment, our desire to control it and covet it, to manage it and exploit it, creating a power struggle in which I believe nature will ultimately win.

My sculptural works represent an artificial reality in which anomaly and normality, virility and frailty, beauty and repulsion are heightened. These biological conditions set the stage for natural selection – nature’s way of culling undesirable traits. I am fascinated with these innate and random states, how we cope with them and make value judgments about them in these technologically-driven times.

Using both found and man-made materials, I create sculptures by selectively morphing components from both flora and fauna, shaping them into creations that are based loosely in reality and largely in fantasy. These imaginary, hybrid species are delicate, alluring, and sometimes awkward or disturbing. Suggesting curious Darwinian anomalies yet to be discovered or freakish evolutionary failures; they blur lines of classification and embody the indefinable.

Through the medium of egg tempera I create paintings that depict evidence of our human imprint on the natural world. I draw from themes as varied as over-consumption and waste, unknown or forgotten mythologies, nature recolonizing and re purposing, and human interpretations of the seasons. 

Inspired by Michael Pollan’s recent book, The Botany of Desire, my works imagine a world in which plants and animals control us; seducing, manipulating and luring us into fulfilling their secret intentions. Borrowing imagery and inspiration from Ernst Haeckel’s stunningly detailed, late 19th century engravings, Persian miniatures, Americana wildlife paintings, Breugel’s depictions of the seasons and Medieval book of hours illustrations, I attempt to weave the historical relationship of human and planet with my own environmental observations.

Born in Frankfurt, Germany in 1972, Renee Adams expressed an interest in the natural world at a young age. She received her BFA in metalsmithing from Colorado State University in 1995, and her MFA in sculpture from Central Washington University in 1999. She currently resides in Thorp, WA, works as the Exhibitions and Publicity Coordinator at Gallery One Visual Arts Center in Ellensburg, WA, and is a board member and founding member of PUNCH Gallery in Seattle, WA. In her free time, Renee enjoys gardening, mushroom hunting, and exploring her planet.

 

Mo Cornelisse

Mo Cornelisse has worked since 2012 as a full-time ceramist. She seeks the challenge in simplicity, and material contradictions.

The work of ceramist Mo Cornelisse consists of unique pieces often in porcelain combined with gold. With love for the craft but modern techniques. In her work she looks for boundaries in form and material. The works are three-dimensional and are distinguished by shape and simplicity.

The wall objects reminiscent of light reflections. The series Dolls initially seem innocuous but are certainly not. MO is the first ceramist who makes

porcelain portraits by the latest techniques and also her latest series of Wall carpets made of Porcelain and gold are unique pieces.

 

Justin Gibbens

Thirty-some odd years ago when I first began moving graphite on paper I was rendering the childhood standards: dinosaurs, creepy crawlers and other freakish fauna. Not much has changed in three decades. I credit my work to countless hours spent watching David Attenborough documentaries, innumerable trips to natural history museums, and above all, a keen and unhealthy interest in all things that scamper and poke about in the undergrowth, slither in the thickets, soar through the ether and swim in the infinite abyss of our planet’s aquatic environments. Utilizing the conventions of 18th and 19th century zoological illustration along with the techniques of traditional Chinese painting, I create strange and lovely images of curious creatures and beautiful beasts from a forgotten natural history.

 

These stylized and embellished depictions speak of evolution, mutation and biodiversity, and perhaps serve as cautionary tales and stand-ins for our anthropocentric selves. By referencing the formal aspects of classic natural science illustration, I connect to a centuries-old tradition; I look to pioneers in this field, celebrating the stylized naturalism and exquisite attention to detail found in these early works and I find provocative ways to once again make this genre and aesthetic relevant.

Our world is mysteriously fascinating and amazingly weird, and our relationship to the animal kingdom is layered, complex and ambiguous. It is through my work that I take pleasure in acknowledging this.

 

Justin Gibbens received his BA in painting and drawing from Central Washington University in 1998 and a Scientific Illustration Certificate from University of Washington in 2003. He is a founding member of PUNCH Projects (formerly PUNCH gallery), an artist collective based in central Washington. Gibbens was the recipient of a 2006 Pollock-Krasner Foundation Award and a 2008 Artist Trust Fellowship Award. He  shows nationally and internationally and lives in rural Thorp, WA. He is represented by G. Gibson Gallery in Seattle, WA and Elizabeth Leach Gallery in Portland, OR.  His work has been collected by Grinnell College, Microsoft, 4Culture/King County Portable Works Collection, City of Seattle (Seattle City Light: Portable Works Collection) and the Washington State Arts Consortium. As a counterpoint to the inspiration he gains from living in the NW, Gibbens’ wanderlust has taken him to the far away and sometimes inhospitable places including Antarctica, the Indian subcontinent and the Galapagos Islands for ecological and aesthetic inspiration. Aside from his studio practice, Gibbens has begun adapting his images for larger-scale public mural projects.

 

Vasily Kafanov

When Billy Corgan of the group Smashing Pumpkins – at the height of their fame – asked Vasily Kafanov to create all of the graphic material for their album and tour Machina/The Machines of God (2000), he found an artist whose visual imagery matched his group’s music and lyrics in its density, poetic allusiveness, and fantasy. Their combined efforts resulted in a brilliant collaboration whose central theme of alchemy, the transformation of base metals into gold, was of great interest to both artist and singer. The commission also announced the arrival of a significant new talent on the New York artistic stage. Born in Moscow in 1952, Kafanov received a thorough artistic training in the Soviet style: textile design at the Moscow Technological Institute (1978), Animation at the Ministry of Film (1984), and long immersion in the fertile world of book illustration from 1980. Before leaving Russia in 1990, he was already embarked on a distinguished career and was a member of the prestigious Artist’s Union. He had also proven to be a real find to the actors of the film “The Russia House,” including Michelle Pfeiffer and Steven Fisher, who collected his paintings while on location in Moscow.

Kafanov has brought the craft and versatility so evident in his formative years in Moscow to all that he has produced since arriving in New York in 1990. He has tried his hand at ceramics, printmaking, and sculpture – remarkably, creating distinguished works in each --although painting has remained his principal focus. In each of these his style remains immediately recognizable and singular. Figures and objects are placed in an overall pattern across the surface, both their silhouettes and details literally drawn in a dense web of black ink across the color of the acrylic paint. Sometimes a narrative is being told – travels; festivities; harlequins; court life of the middle ages. At other times a single image is in the forefront and all else recedes behind it.

Of these images, that which has continued to play a role in Kafanov’s imagination longest is the so-called ‘Fishtower,’ in which a tower grows from a vast airborne fish. The artist has attempted to locate the fascination of this image for him. It derives, in the first place, in a childhood experience of great poignancy. While growing up in a communal apartment, he had begged his mother for an aquarium with fish. There wasn’t room, but she finally gave him two fish in a pickle jar. They survived for a month, and when they died his grandmother told him that they had flown away. This memory was later joined to one of the old bell towers of Moscow (perhaps made more interesting because the churches to which they were attached were more or less shut down by the authorities). Both of these childhood memories – resonant with emotions relating to desire, deprivation, and some kind of faith – came back to him when he first flew over Manhattan, its ‘fish-like’ shape bristling with skyscrapers.

Although the folkloric aspect of his recurrent images has led critics to compare some of his earlier works to Marc Chagall (and indeed Kafanov knew the venerable artist and was encouraged by him), the work of the last decade or more has moved far from that beginning. The recent paintings are increasingly dense, with enigmatic and moody qualities. This evolution came to fruition in a masterful series of collages of the last five or so years. Built up from photographs, bits of metallic machinery, wooden elements, etc., as well as with the characteristic pen lines and thick acrylic paint, these are enormously satisfying compositionally, and can be haunting in their effect. Folklore gives way to meditation on personal history, the passage of time, and glimpses onto other places and landscapes. Likewise, the confidence and monumentality of a recent series of rough- hewn wooden sculptures of fish and fish towers makes a remarkably distinctive impression. The artist is very interested in creating objects like these, which almost seem ancient or ‘primitive’ in their simplicity; as he said of some woodcuts that he made for the Smashing Pumpkins commission, “The first books in this world were made with woodcuts, and I try to imitate that sense of antiquity.” Thus too the illusionistic framed borders of many of his paintings and collages seem to allude to old Russian icons.

In an interview Kafanov has said that, “I paint all the time. I don’t wake up in the morning, get dressed to paint, finish in the evening and go home to my regular life. Art is my life.” This is borne out by the searching quality of his work, in which one thing leads so naturally to another – from one medium to another, from one experiment to another, and circling back through the same themes but seen from different angles or lenses.

Dr. Andrea Bayer

Curator

Metropolitan Museum of Art

New York

 

Suzy O’Mullane

Suzy O’Mullane (b. 1958, Liverpool, England) lives and works in Cork and shares her time between there and her studio in the south of France. She was the co-founder of Arttrail in Cork, Ireland and director from 1996 to 2002. From 2001 to 2004 O’Mullane was on the Board of the Triskel Arts Centre, Cork, and has been a contributor to Ireland’s critical art publication, Circa. She has been awarded several residencies in Cill Rialaig, Ireland, Paris and Berlin as well as several prestigious commissions.

O’Mullane has exhibited in private and state-funded galleries in London, Berlin, Italy and throughout Ireland. Her work has been exhibited at international art fairs including Art Miami, Art Chicago, Art Palm Beach and Art Toronto. O’Mullane’s work has been presented in fifteen solo exhibitions; recent solo exhibitions include the Crawford Municipal Gallery, Cork, Sirius Arts Centre, Cobh, Ireland  and the Solstice Arts Centre in Navan, Co Meath, Ireland and Skotia Gallery, L.A.  O’Mullane’s work was featured in ‘Wildly Different Things: New York and Dublin’, a major international exhibition presented by BlueLeaf Gallery/BlueLeaf Unlimited in Dublin in February-March 2010.  O’Mullane’s work is held in private, public and corporate collections throughout Ireland, the UK, USA and in Europe.

 

O’Mullane’s work has evolved to employ multiple encoded forms that have become personal allegorical references for the artist. Throughout her practice she has applied correct draughtsmanship to enable a direct visual understanding of her forms. This visual clarity has provided a basis for extended considerations of O’Mullane’s deliberately altered perspectives and ambiguous projection of objects and references, both spatially and contextually. The artist’s adopted forms - hares, wolves, flowers, birds and female figures - are drawn from personal, historical, religious and mythological contexts and are intertwined with elements of light, darkness, colour, layering, gesturing and gaze. Collectively these elements provide significant keys to understanding O’Mullane’s imagery.

O’Mullane explains the use of her forms: “The intention of the work is to convey emotional and sometimes metaphysical connection, as well as absurd hypothetical situations. Humans and animals have interchangeable roles, and are devoid of accepted markers.”

“Questions of identity are always present in my work, particularly in the use of autobiographical reference. But my images acquire autonomy through repetition, layering and distillation. A useful analogy is to equate the imagery to a troupe of actors who assume different leading or subsidiary roles as required. Emotion is a very important component in my work and is implicitly registered in the imagery.”

In an essay entitled ‘Signs‘, Sean Kissane, Head Curator of Irish Museum of Modern Art writes: “Her figures are constantly torn between the representation of an individual and the universality which that figure represents. Just as line and colour distil notions of both of structure and emotion; so too do her subjects exist on multiple planes and function on different levels. The organic becomes a trope and the inorganic an emotion.”

Kurt Stallaert

His intimate “Mother and Child” moving still (2013), inspired Kurt Stallaert to work further on the idea of healing, baptism and rejuvenation as he created an impressive eleven hour during moving still wherein different naked bodies, men and women, one by one, almost ritually come out of the water. Their sins and souls are washed, their bodies cleansed and purified as they slowly disappear off screen. Circles of life, reflecting on the water. An infinite human chain of creation and recreation. A new start. Back to nature.

After finishing  his studies at the  Antwerp School of Photography, Kurt Stallaert’s talent and creativity  was soon discovered by some of the top advertising agencies in Belgium. Since then he worked for international publicity agencies such as Duval-Guillaume and TBWA, directed major advertising campaigns for Levis, Van Marcke, Humo, Telenet, Renault and many more. As a fashion and advertising photographer, Stallaert developed a personal style of impacting images that inspired many international brands he worked for: Nike, Sisley, Axe, Marie Jo and many more.

 

Although Kurt Stallaert's imagery is inspired by average social and cultural matters, with a touch of humor and irony, his work is remarkable because it goes above and beyond the everyday. No matter if it's about fashion or advertising, Kurt likes to work with elaborate settings creating his own artistic language and imaginary world. Recently, he also started to work with moving images.

Because of his inexhaustible drive and passion, his work (both his photography as well as his recent video projects), is timeless and unique.

Kurt Stallaert's non-stop search for authenticity of images in his professional work brought him automatically into artistic photography. His work explores the borders of reality and surreality and balances between the human and the superhuman. Does reality lie in the authenticity of the image, or in the authenticity of the emotion that it evokes? And how far can we go to reach perfection? Questions that raised in his "Bodybuilders' World", a photographical series of muscled men, women and children. Images that seduce but threaten at the same time. In 2010, some of these Bodybuilders were exhibited at the Museum Dr. Guislain in Ghent. Soon after his work was picked up by Leonhard’s gallery in Antwerp en budA art gallery in Brussels. More recently, Kurt Stallaert successfully showed his first video project at the Lineart art fair.

For his recent video work, Kurt uses high-speed photography, a technique developed for industrial and scientific purposes, that allows the artist to combine photography and film. At first sight, when we look at these images, we have the impression they are photos or stills. Only when we look closer and longer, we discover slowly moving images. By splitting an image into a thousand images, high-speed photography allows Kurt Stallaert to show more than one reality at the same time. He calls these images ’moving stills’.

Liz Tran

Liz Tran is a graduate in Print Art and Painting from Cornish College of the Arts. She exhibits both nationally and internationally.

Channeling subjects such as dream imagery, imagined landscapes, geodes, outer space and The Big Bang, Tran explores the shapes of nature, with the infusion of fantastical, pulsing synthetic hues. The psychedelic visuals are harvested from the place where inner-verse meets outer-verse, where optical misfires combine with a vacuum pull moving at the speed of light. Through painting, sculpture and installation, she creates atmospheres that aim to activate.Public collections of Tran’s work include the City of Seattle's Portable Works Collection, Baer Art Center, Camac Art Centre, The El Paso Children’s Hospital, Harborview Medical Center, The King County Public Art Collection and The Child Center.

She has been awarded multiple fellowships and grants; including a Grant for Artist Projects (GAP) from Artist Trust, Clowes Fellowship for residency at the Vermont Studio Center, the Nellie Cornish Scholarship and residency at The Camac Art Centre in France, The Baer Art Center in Iceland, Jentel, Millay Colony for the Arts and The Center for Contemporary Printmaking. She resides in Seattle, WA.

Mauricio Vergara

Mauricio Vergara was born in Rio IV, Córdoba, Argentina, in 1971.He is a self-taught painter. He has been painting since the early 90’s. He is currently living in Pamplona (Spain)

A Rioplatense poet ponders:

Where is my life that which it could have been, and it never was?

As he does, I ask myself, who I am? Where is my life? Where is the person who I once was? Where are those who are not anymore? Where will I be? Who will I be?

Time changes us, but there is something that always remains. We leave what we were; we look at the past, and we don´t recognize ourselves. But, we are them, changed by our deaths and our lost illusions that will keep us changing.

Mauricio’s characters without face and body want to be an invitation to the spectator to make these questions theirs and to encourage them to participate in finishing the paintings.

 

A Constellation

Please join our special section within our Featured Artist section at Aqua Art Miami 2016.

This section is designed to keep art accessible for even the beginning collector.

Art collecting does not need to feel intimidating.  Prices start under $500.

Each participating artist has a well-established CV for your investment minded purposes.

Introducing the new collective mini section for Aqua Art Miami 2016:

A Constellation is an artist collective assembled specifically for Aqua Art Miami 2016.  These hand selected artist, by curator L Jill Johns restricting only size of 12"x12"x2.5" wood panel create uniformity in project. All the artists exhibited are in their own way capable of expressing their emotions by presenting their world-view through questions regarding representation and their knowledge of the media they use.

Cohesion and range are explored through individual contributions. Will the whole find a collective voice?  A Constellation is an ongoing series of existential questions exhibited through visual art.

Anonymous

Double O Studios

Miriam Aroeste

Capucine Bourcart

Kesha Bruce

Cory Chandler

Bridget Conn

Carolina de la Cajiga

Elizabeth Gahan

Steve Jensen

Raeleen Kao

Deb Liljegrin

Julia Marchand

Sonya McAlister

Gianna Paniagua

Deirdre Sullivan-Beeman

View Event →
CONTEXT NY 2016
May
4
to May 8

CONTEXT NY 2016

 

 

Phylogeny Contemporary’s objective for Aqua Art Miami gently guides the viewer through conceptual responses to the personal and collective human condition. Art is reactionary, yet playful, contemplative and aesthetically sublime. There are eight established featured artist and a small sub-section dedicated to new collective of artists named A Constellation.

 

A Constellation

Renee Adams

Mo Cornelisse

Justin Gibbens

Vasily Kafanov

Suzy O’Mullane

Kuet Stallaert

Liz Tran

Mauricio Vergara

Renee Adams, Panacea: Columbine, epoxy clay, acrylic paint, found objects, 38”22”x22”, 2016.

Renee Adams

Humanity’s imprint on nature is undeniable. Scientists claim we are now entering the Anthropocene - a term that credits the evidence and extent to which human activities have had a significant global impact on the earth’s ecosystems. My work delves into our complex relationship with the environment, our desire to control it and covet it, to manage it and exploit it, creating a power struggle in which I believe nature will ultimately win.

My sculptural works represent an artificial reality in which anomaly and normality, virility and frailty, beauty and repulsion are heightened. These biological conditions set the stage for natural selection – nature’s way of culling undesirable traits. I am fascinated with these innate and random states, how we cope with them and make value judgments about them in these technologically-driven times.

Using both found and man-made materials, I create sculptures by selectively morphing components from both flora and fauna, shaping them into creations that are based loosely in reality and largely in fantasy. These imaginary, hybrid species are delicate, alluring, and sometimes awkward or disturbing. Suggesting curious Darwinian anomalies yet to be discovered or freakish evolutionary failures; they blur lines of classification and embody the indefinable.

Through the medium of egg tempera I create paintings that depict evidence of our human imprint on the natural world. I draw from themes as varied as over-consumption and waste, unknown or forgotten mythologies, nature recolonizing and re purposing, and human interpretations of the seasons. 

Inspired by Michael Pollan’s recent book, The Botany of Desire, my works imagine a world in which plants and animals control us; seducing, manipulating and luring us into fulfilling their secret intentions. Borrowing imagery and inspiration from Ernst Haeckel’s stunningly detailed, late 19th century engravings, Persian miniatures, Americana wildlife paintings, Breugel’s depictions of the seasons and Medieval book of hours illustrations, I attempt to weave the historical relationship of human and planet with my own environmental observations.

Born in Frankfurt, Germany in 1972, Renee Adams expressed an interest in the natural world at a young age. She received her BFA in metalsmithing from Colorado State University in 1995, and her MFA in sculpture from Central Washington University in 1999. She currently resides in Thorp, WA, works as the Exhibitions and Publicity Coordinator at Gallery One Visual Arts Center in Ellensburg, WA, and is a board member and founding member of PUNCH Gallery in Seattle, WA. In her free time, Renee enjoys gardening, mushroom hunting, and exploring her planet.

Mo Cornelisse, Melting Vase series Clay, Porcelain, Gold, 10" x 12", 2016.

Mo Cornelisse

Mo Cornelisse has worked since 2012 as a full-time ceramist. She seeks the challenge in simplicity, and material contradictions.

The work of ceramist Mo Cornelisse consists of unique pieces often in porcelain combined with gold. With love for the craft but modern techniques. In her work she looks for boundaries in form and material. The works are three-dimensional and are distinguished by shape and simplicity.

The wall objects reminiscent of light reflections. The series Dolls initially seem innocuous but are certainly not. MO is the first ceramist who makes

porcelain portraits by the latest techniques and also her latest series of Wall carpets made of Porcelain and gold are unique pieces.

Justin Gibbens, False Paradise, watercolor, gouache, acrylic, ink on paper, 30”x23”, 2016.

Justin Gibbens

Thirty-some odd years ago when I first began moving graphite on paper I was rendering the childhood standards: dinosaurs, creepy crawlers and other freakish fauna. Not much has changed in three decades. I credit my work to countless hours spent watching David Attenborough documentaries, innumerable trips to natural history museums, and above all, a keen and unhealthy interest in all things that scamper and poke about in the undergrowth, slither in the thickets, soar through the ether and swim in the infinite abyss of our planet’s aquatic environments. Utilizing the conventions of 18th and 19th century zoological illustration along with the techniques of traditional Chinese painting, I create strange and lovely images of curious creatures and beautiful beasts from a forgotten natural history.

 

These stylized and embellished depictions speak of evolution, mutation and biodiversity, and perhaps serve as cautionary tales and stand-ins for our anthropocentric selves. By referencing the formal aspects of classic natural science illustration, I connect to a centuries-old tradition; I look to pioneers in this field, celebrating the stylized naturalism and exquisite attention to detail found in these early works and I find provocative ways to once again make this genre and aesthetic relevant.

Our world is mysteriously fascinating and amazingly weird, and our relationship to the animal kingdom is layered, complex and ambiguous. It is through my work that I take pleasure in acknowledging this.

 

Justin Gibbens received his BA in painting and drawing from Central Washington University in 1998 and a Scientific Illustration Certificate from University of Washington in 2003. He is a founding member of PUNCH Projects (formerly PUNCH gallery), an artist collective based in central Washington. Gibbens was the recipient of a 2006 Pollock-Krasner Foundation Award and a 2008 Artist Trust Fellowship Award. He  shows nationally and internationally and lives in rural Thorp, WA. He is represented by G. Gibson Gallery in Seattle, WA and Elizabeth Leach Gallery in Portland, OR.  His work has been collected by Grinnell College, Microsoft, 4Culture/King County Portable Works Collection, City of Seattle (Seattle City Light: Portable Works Collection) and the Washington State Arts Consortium. As a counterpoint to the inspiration he gains from living in the NW, Gibbens’ wanderlust has taken him to the far away and sometimes inhospitable places including Antarctica, the Indian subcontinent and the Galapagos Islands for ecological and aesthetic inspiration. Aside from his studio practice, Gibbens has begun adapting his images for larger-scale public mural projects.

Vasily Kafanov, Phylogeny Tree, mixed media on three un-stretched canvas panels, 10’x10’, 2106.

Vasily Kafanov

When Billy Corgan of the group Smashing Pumpkins – at the height of their fame – asked Vasily Kafanov to create all of the graphic material for their album and tour Machina/The Machines of God (2000), he found an artist whose visual imagery matched his group’s music and lyrics in its density, poetic allusiveness, and fantasy. Their combined efforts resulted in a brilliant collaboration whose central theme of alchemy, the transformation of base metals into gold, was of great interest to both artist and singer. The commission also announced the arrival of a significant new talent on the New York artistic stage. Born in Moscow in 1952, Kafanov received a thorough artistic training in the Soviet style: textile design at the Moscow Technological Institute (1978), Animation at the Ministry of Film (1984), and long immersion in the fertile world of book illustration from 1980. Before leaving Russia in 1990, he was already embarked on a distinguished career and was a member of the prestigious Artist’s Union. He had also proven to be a real find to the actors of the film “The Russia House,” including Michelle Pfeiffer and Steven Fisher, who collected his paintings while on location in Moscow.

Kafanov has brought the craft and versatility so evident in his formative years in Moscow to all that he has produced since arriving in New York in 1990. He has tried his hand at ceramics, printmaking, and sculpture – remarkably, creating distinguished works in each --although painting has remained his principal focus. In each of these his style remains immediately recognizable and singular. Figures and objects are placed in an overall pattern across the surface, both their silhouettes and details literally drawn in a dense web of black ink across the color of the acrylic paint. Sometimes a narrative is being told – travels; festivities; harlequins; court life of the middle ages. At other times a single image is in the forefront and all else recedes behind it.

Of these images, that which has continued to play a role in Kafanov’s imagination longest is the so-called ‘Fishtower,’ in which a tower grows from a vast airborne fish. The artist has attempted to locate the fascination of this image for him. It derives, in the first place, in a childhood experience of great poignancy. While growing up in a communal apartment, he had begged his mother for an aquarium with fish. There wasn’t room, but she finally gave him two fish in a pickle jar. They survived for a month, and when they died his grandmother told him that they had flown away. This memory was later joined to one of the old bell towers of Moscow (perhaps made more interesting because the churches to which they were attached were more or less shut down by the authorities). Both of these childhood memories – resonant with emotions relating to desire, deprivation, and some kind of faith – came back to him when he first flew over Manhattan, its ‘fish-like’ shape bristling with skyscrapers.

Although the folkloric aspect of his recurrent images has led critics to compare some of his earlier works to Marc Chagall (and indeed Kafanov knew the venerable artist and was encouraged by him), the work of the last decade or more has moved far from that beginning. The recent paintings are increasingly dense, with enigmatic and moody qualities. This evolution came to fruition in a masterful series of collages of the last five or so years. Built up from photographs, bits of metallic machinery, wooden elements, etc., as well as with the characteristic pen lines and thick acrylic paint, these are enormously satisfying compositionally, and can be haunting in their effect. Folklore gives way to meditation on personal history, the passage of time, and glimpses onto other places and landscapes. Likewise, the confidence and monumentality of a recent series of rough- hewn wooden sculptures of fish and fish towers makes a remarkably distinctive impression. The artist is very interested in creating objects like these, which almost seem ancient or ‘primitive’ in their simplicity; as he said of some woodcuts that he made for the Smashing Pumpkins commission, “The first books in this world were made with woodcuts, and I try to imitate that sense of antiquity.” Thus too the illusionistic framed borders of many of his paintings and collages seem to allude to old Russian icons.

In an interview Kafanov has said that, “I paint all the time. I don’t wake up in the morning, get dressed to paint, finish in the evening and go home to my regular life. Art is my life.” This is borne out by the searching quality of his work, in which one thing leads so naturally to another – from one medium to another, from one experiment to another, and circling back through the same themes but seen from different angles or lenses.

Dr. Andrea Bayer

Curator

Metropolitan Museum of Art

New York

Suzy O’ Mullane, Fate is Sweet, oil on paper, 65cm x 50cm, 2016.

Suzy O’Mullane

Suzy O’Mullane (b. 1958, Liverpool, England) lives and works in Cork and shares her time between there and her studio in the south of France. She was the co-founder of Arttrail in Cork, Ireland and director from 1996 to 2002. From 2001 to 2004 O’Mullane was on the Board of the Triskel Arts Centre, Cork, and has been a contributor to Ireland’s critical art publication, Circa. She has been awarded several residencies in Cill Rialaig, Ireland, Paris and Berlin as well as several prestigious commissions.

O’Mullane has exhibited in private and state-funded galleries in London, Berlin, Italy and throughout Ireland. Her work has been exhibited at international art fairs including Art Miami, Art Chicago, Art Palm Beach and Art Toronto. O’Mullane’s work has been presented in fifteen solo exhibitions; recent solo exhibitions include the Crawford Municipal Gallery, Cork, Sirius Arts Centre, Cobh, Ireland  and the Solstice Arts Centre in Navan, Co Meath, Ireland and Skotia Gallery, L.A.  O’Mullane’s work was featured in ‘Wildly Different Things: New York and Dublin’, a major international exhibition presented by BlueLeaf Gallery/BlueLeaf Unlimited in Dublin in February-March 2010.  O’Mullane’s work is held in private, public and corporate collections throughout Ireland, the UK, USA and in Europe.

 

O’Mullane’s work has evolved to employ multiple encoded forms that have become personal allegorical references for the artist. Throughout her practice she has applied correct draughtsmanship to enable a direct visual understanding of her forms. This visual clarity has provided a basis for extended considerations of O’Mullane’s deliberately altered perspectives and ambiguous projection of objects and references, both spatially and contextually. The artist’s adopted forms - hares, wolves, flowers, birds and female figures - are drawn from personal, historical, religious and mythological contexts and are intertwined with elements of light, darkness, colour, layering, gesturing and gaze. Collectively these elements provide significant keys to understanding O’Mullane’s imagery.

O’Mullane explains the use of her forms: “The intention of the work is to convey emotional and sometimes metaphysical connection, as well as absurd hypothetical situations. Humans and animals have interchangeable roles, and are devoid of accepted markers.”

“Questions of identity are always present in my work, particularly in the use of autobiographical reference. But my images acquire autonomy through repetition, layering and distillation. A useful analogy is to equate the imagery to a troupe of actors who assume different leading or subsidiary roles as required. Emotion is a very important component in my work and is implicitly registered in the imagery.”

In an essay entitled ‘Signs‘, Sean Kissane, Head Curator of Irish Museum of Modern Art writes: “Her figures are constantly torn between the representation of an individual and the universality which that figure represents. Just as line and colour distil notions of both of structure and emotion; so too do her subjects exist on multiple planes and function on different levels. The organic becomes a trope and the inorganic an emotion.”

Kurt Stallaert ,moving still#7 // Circle of Life 2014

Kurt Stallaert

His intimate “Mother and Child” moving still (2013), inspired Kurt Stallaert to work further on the idea of healing, baptism and rejuvenation as he created an impressive eleven hour during moving still wherein different naked bodies, men and women, one by one, almost ritually come out of the water. Their sins and souls are washed, their bodies cleansed and purified as they slowly disappear off screen. Circles of life, reflecting on the water. An infinite human chain of creation and recreation. A new start. Back to nature.

After finishing  his studies at the  Antwerp School of Photography, Kurt Stallaert’s talent and creativity  was soon discovered by some of the top advertising agencies in Belgium. Since then he worked for international publicity agencies such as Duval-Guillaume and TBWA, directed major advertising campaigns for Levis, Van Marcke, Humo, Telenet, Renault and many more. As a fashion and advertising photographer, Stallaert developed a personal style of impacting images that inspired many international brands he worked for: Nike, Sisley, Axe, Marie Jo and many more.

 

Although Kurt Stallaert's imagery is inspired by average social and cultural matters, with a touch of humor and irony, his work is remarkable because it goes above and beyond the everyday. No matter if it's about fashion or advertising, Kurt likes to work with elaborate settings creating his own artistic language and imaginary world. Recently, he also started to work with moving images.

Because of his inexhaustible drive and passion, his work (both his photography as well as his recent video projects), is timeless and unique.

Kurt Stallaert's non-stop search for authenticity of images in his professional work brought him automatically into artistic photography. His work explores the borders of reality and surreality and balances between the human and the superhuman. Does reality lie in the authenticity of the image, or in the authenticity of the emotion that it evokes? And how far can we go to reach perfection? Questions that raised in his "Bodybuilders' World", a photographical series of muscled men, women and children. Images that seduce but threaten at the same time. In 2010, some of these Bodybuilders were exhibited at the Museum Dr. Guislain in Ghent. Soon after his work was picked up by Leonhard’s gallery in Antwerp en budA art gallery in Brussels. More recently, Kurt Stallaert successfully showed his first video project at the Lineart art fair.

For his recent video work, Kurt uses high-speed photography, a technique developed for industrial and scientific purposes, that allows the artist to combine photography and film. At first sight, when we look at these images, we have the impression they are photos or stills. Only when we look closer and longer, we discover slowly moving images. By splitting an image into a thousand images, high-speed photography allows Kurt Stallaert to show more than one reality at the same time. He calls these images ’moving stills’.

Liz Tran, LR Ornament Fifteen, mixed media on wood panel, 24”x24”, 2016.

Liz Tran

Liz Tran is a graduate in Print Art and Painting from Cornish College of the Arts. She exhibits both nationally and internationally.

Channeling subjects such as dream imagery, imagined landscapes, geodes, outer space and The Big Bang, Tran explores the shapes of nature, with the infusion of fantastical, pulsing synthetic hues. The psychedelic visuals are harvested from the place where inner-verse meets outer-verse, where optical misfires combine with a vacuum pull moving at the speed of light. Through painting, sculpture and installation, she creates atmospheres that aim to activate.Public collections of Tran’s work include the City of Seattle's Portable Works Collection, Baer Art Center, Camac Art Centre, The El Paso Children’s Hospital, Harborview Medical Center, The King County Public Art Collection and The Child Center.

She has been awarded multiple fellowships and grants; including a Grant for Artist Projects (GAP) from Artist Trust, Clowes Fellowship for residency at the Vermont Studio Center, the Nellie Cornish Scholarship and residency at The Camac Art Centre in France, The Baer Art Center in Iceland, Jentel, Millay Colony for the Arts and The Center for Contemporary Printmaking. She resides in Seattle, WA.

Mauricio Vergara, Algún Día, oil on canvas, 38”x39”, 2016.

Mauricio Vergara

Mauricio Vergara was born in Rio IV, Córdoba, Argentina, in 1971.He is a self-taught painter. He has been painting since the early 90’s. He is currently living in Pamplona (Spain)

A Rioplatense poet ponders:

Where is my life that which it could have been, and it never was?

As he does, I ask myself, who I am? Where is my life? Where is the person who I once was? Where are those who are not anymore? Where will I be? Who will I be?

Time changes us, but there is something that always remains. We leave what we were; we look at the past, and we don´t recognize ourselves. But, we are them, changed by our deaths and our lost illusions that will keep us changing.

Mauricio’s characters without face and body want to be an invitation to the spectator to make these questions theirs and to encourage them to participate in finishing the paintings.

 

A Constellation

Please join our special section within our Featured Artist section at Aqua Art Miami 2016.

This section is designed to keep art accessible for even the beginning collector.

Art collecting does not need to feel intimidating.  Prices start under $500.

Each participating artist has a well-established CV for your investment minded purposes.

Introducing the new collective mini section for Aqua Art Miami 2016:

A Constellation is an artist collective assembled specifically for Aqua Art Miami 2016.  These hand selected artist, by curator L Jill Johns restricting only size of 12"x12"x2.5" wood panel create uniformity in project. All the artists exhibited are in their own way capable of expressing their emotions by presenting their world-view through questions regarding representation and their knowledge of the media they use.

Cohesion and range are explored through individual contributions. Will the whole find a collective voice?  A Constellation is an ongoing series of existential questions exhibited through visual art.

Anonymous

Double O Studios

Miriam Aroeste

Capucine Bourcart

Kesha Bruce

Cory Chandler

Bridget Conn

Carolina de la Cajiga

Elizabeth Gahan

Steve Jensen

Raeleen Kao

Deb Liljegrin

Julia Marchand

Sonya McAlister

Gianna Paniagua

Deirdre Sullivan-Beeman

 

Inaugurated February 2016, Phylogeny Contemporary has evolved over a decade in the art industry seasoned through international experimental projects and esteemed art fairs.

 

 Our aim is to examine line, form, and texture with insight.

 

PHYLOGENY

plural phy·log·e·nies

1:  the evolutionary history of a kind of organism

2:  the evolution of a genetically related group of organisms as distinguished from the development of the individual organism

3:  the history or course of the development of something (as a word or custom)

 

 

 

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