Rosalind Tallmadge is presenting a selection of works at Marquee Projects in the Hamptons.
With this current selection of paintings, Tallmadge has chosen a title of "Deep Time" as it refers to the concept of geological time and processes of erosion and sedimentation. This relates to the artist’s multiple applications and removal of both natural and manufactured materials, revealing layered painted surfaces that become meditative artifacts of real and implied history. In this sense, the paintings are essentially compressed renderings of a time that exists beyond the maker or viewer.
In addition to the conceptual aspects of the construction, the visceral and physical vitality of the paintings, themselves, evokes an unfolding and hypnotic experience. The accumulated layers of mica, leafing, and pigment create surfaces reminiscent of abalone shells, minerals, and gemstones, and the use of glitter and sequins reference textures and colors found in cosmetics, fabrics, and costumes. The aggregate materials make one think of some sort of wild geological experiment — or what Tallmadge, herself, calls “disco alchemy.”
When viewed from different angles, her artwork playfully shifts and offers the viewer an optically elusive target. We invite you to take aim and witness the collision of the seduction with the abjection, the sobriety with the humor, and the mundane with the sublime.
We are thrilled to announce three of our artists will be working at summer residencies in NY and abroad.
Suzanne Unrein will be traveling to Spain to do a residency at Can Serrat in El Bruc. She will be spending her summer abroad and experimenting with new mediums and techniques. Can Serrat at the foot of Montserrat and close to Barcelona by bus. The center was founded by a group of Norwegian artists and is known for its beautiful natural environment.
Iliana Scheggia is joining us in New York for her summer residency at School of Visual Arts ( SVA). She will be focusing on sculpture, installation, new media art and techno-ceramics. She will have the opportunity to experiment with the latest in digital technology in an environment that is conducive to inter-media exploration and critical dialogue.
Ramon Aular's idea of an art form is not based on a specific technique, instead on a function from symbolic properties of any given material, object or image can offer. In this case the colors and the golden shine represents the influence of Latin-American culture, the use of wood in an organic and natural state and the use of threads represent the connections between the real and ficticious world, between the open and closed; between the known factors and the unknown...
The artist assume the artistic practice from day-to-day experience and from the objects that relate to the body, with nature, within space and architecture. In his line of work he reveal the feeling that was once an idea and transforms into a palpable and very personal art form.
Landscapes use organic shapes and lines that are engaged in an exploration of the two dimensional space. Using the whole wall, the background is painted and the directional lines, that I use when I work in the compositions, become visible. Landscapes represent for me moments in time, contemplation of nature as form of visualizing the vastness of the space.
"My art is my way of expressing my world vision. I try to convey maximum of information in the most minimal but essential forms. Although I work mainly with steel, my sculptures and installations have an organic sensibility that reflects my interest in the basic interactions of life. The reference to geometry, natural shapes and the use of positive and negative spaces are a response to the search of a balance between opposites.
Wall compositions are separated from the surface of the walls with a distance of one or two inches, creating a floating effect in the space that is enhanced by lights and shadows. The blank walls become the medium and support for each one of these installations. The free standing and hanging pieces use the void as the main visual element. Space it’s a medium and transparency it’s always an important factor in these pieces.
Color, or the absence of it, is used to emphasize the strength of each shape and the placement of the shape in the space.
The concept behind each artwork is as important as the image and the space is as important as the shapes that create the whole composition.
Subjects and messages are open to personal interpretations.
The interaction with the spectator brings forth multiple ways of reading each composition."
- Carolina Sardi
Alexandra Posen's FIELDS series proposes a cathedral of individuality and the ineffable singularity of human presences. Working on 20' x 15" cold pressed watercolor paper, Posen uses pigmented beeswax and other mixed media to conjure relief paintings that each possess a unique spirit or wholeness. After meditating on the finished painting, Posen associates the wax mark with a creative icon, and meticulously incises the icon's last name into the paper - resulting in a word window. In this way, FIELDS takes on qualities of a portrait series - while the connection between the word/ identity and the abstract mark continues to carry a playful and open ended rapport.