Author: dig

May the bridges I burn light the way / Ferran Martin @ The Cave

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May the bridges I burn light the way / Ferran Martin
The Cave @ Big-E Studio
5300 NW 2nd Avenue, Little Haiti, Miami.
786.222.7536
info@glexisnovoa.com
Opening reception, Wednesday, May 23, 2012, Thursday, May 24, 2012, 7:00-10:00 PM.

Exhibition dates May 23 – June 06, by appointment only.

Throughout the years, in videos, installations, and the fallas from his native Valencia, Ferran has been working at intersection of modernist concepts and traditional craftsmanship.
For example, at the Popiashvili Newman gallery in NYC, Ferran produced two site-specific installations dedicated to his parents: To The Height of My Father (2009) and Granada (2012). These works playfully responded to the constraints of a gallery space located below ground level: In the former, he lowered the height of the ceiling to uncomfortable dimensions while, in the latter, he transformed the standard concrete floor into an ornate wooden patina with burnt Moorish decorations. Through these tactics, he situated the body of the viewer within a network of art historical discourses while also insisting on the material dimensions of bodily experience.

This approach is also evident in video works that document the artist walking through various urban and natural environments while wearing a mirrored cube on his head. In dialogue with minimalist concerns regarding phenomenological experience, Ferran moves the conversation forward by inviting viewers to consider modernism as a lived experience in spaces beyond the parameters of ‘the white cube.’ In this context, his transposition of fallas into an ‘art context’ enacts a significant reversal as Ferran brings this communal tradition, to which he is personally connected through his father’s expertise, to a new public. With the construction of each falla, Ferran has to deftly adapt to a new physical situation, he has an incredible wealth of craft, sculptural, and building skills. He is also adept at working with various practitioners, as this tradition deeply rooted in collaboration.

via glexisnovoa.com

smoke signals: portals y paisajes

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smoke signals: portals y paisajes
curated by William Cordova
under the bridge
12425 ne 13th ave
305 987 4437
May20, 2012 – July 08, 2012

“in one case, the out of field designates that which exists elsewhere, to one side or  around; in the other case,
the out of field testifies to a more disturbing presence, one which cannot even be said to exist, but rather to
insist or subsist, a more radical elsewhere, outside homogeneous space and time”

     -Gilles Deleuze (Cinema I: The Movement-Image 1983)

 

“… nothing stays permanent”

-Hiroshi Sugimoto (interview with Giampaolo Penco: 2007)

 

smoke signals: portals y paisajes is a project that focuses on the concept of the lens as a portal, frame, window,

an entry point that one can further look through to unlock narratives beyond the limits of a two dimensional plane:

informed, constructed and activated by our own personal experiences… experiences we bring to this two dimensional frame.

The mobility/ immobility of the two-dimensional lens, frame, portal operates as static objects in one hand while penetrating

through the fabric of our own consciousness with implied narratives on the other hand.  We as spectators enter these portals,

seeking paisaje or landscape all the time except that we more often run into them through the comfort and familiarity of our

own lens, our own doorway thus further negating any possibility of new discovery or perspectives. These familial experiences

can be altered by permitting ourselves to slow down the way we interpret the landscape…slowing down our visual sensors

in order to comprehend and disseminate the parallels between familiar and distant moments/memory in many cases forgotten

or displaced…juxtaposing known images, sounds and situations with possible foreign ones that slowly create a paradox between

the unfamiliar and familiar…threading, constructing and overlapping multiple narratives fused together to propose alternative

perspectives. Gaining these perspectives can allow for a reconsideration of the known physical and psychological terrain.

Social change only happens when we change our perspective.

 

“We should distinguish the properties of particulars, and gather by induction what pertains to the eye when visions take place and what is found in the manner of sensations.”

-Ibn Al-Haytham (The Book of Optics: 11th century)

lynne golob gelfman: scapes

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lynne golob gelfman: scapes

The Patricia and Phillip Frost Art Museum

Florida International University, Miami

Opening:  May 16, 2012 / 6-9 pm

May 16, 2012 – September 2, 2012

Lynne Golob Gelfman makes abstract paintings that are rooted in the visible world.  She identifies and isolates textures, forms or patterns, either natural or manmade, then repeats them to create compositions that seem as if they could flow forever in all directions. In recent years, inspired by morning walks along the Miami shore, she has been making works that evoke the reflection of light on water. But as a result of their repetitive markings, her works become as much about the process of their own making as about any outside source.

The works in the exhibition scapes refer to landscape but do not represent it. Instead, they suggest a sense of place.

In the most recent series, the dune paintings, the surface image changes with the slightest shift either in the viewer’s position or in the angle of light. These paintings, which are never the same nor fixed in time, offer an experience of perception- what happens when the viewer traverses the image.

The dune series was inspired by hiking through the undulating dunes of Lençóis Maranhenses, Brazil and seeing sand always moving in the play of wind and sun.

In scapes, Gelfman’s images lead beyond the referential and into an awareness of the elemental.

image: dune 25, 2011. metallic and acrylic paint. 48 x 48 inches.  one painting seen from four angles of light

www.lynnegolobgelfman.com