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    • 125 Shares179 Views

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      Symmetric Paper Collages by Haegue Yang Commune with the Spiritual

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      “Splashing Volcano Ash Gaze–
      Mesmerizing Mesh #140” (2022), Hanji on alu-dibond, framed, 62 x 62 centimeters. All photos by Studio Haegue Yang, courtesy of the artist and The Arts Club of Chicago, shared with permission

      Symmetric Paper Collages by Haegue Yang Commune with the Spiritual

      October 2, 2024

      Art

      Grace Ebert

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      Known for immersive sculptures and installations that engage the senses, Seoul-born artist Haegue Yang looks toward common materials and traditional craft techniques to explore pressing issues. She often transforms domestic objects like Venetian blinds, electrical fans, and even cans of Spam into dynamic, abstract works that comment on sociopolitical topics like migration, labor, and exile.

      Although the artist has risen to international recognition for her three-dimensional pieces, an exhibition at The Arts Club of Chicago peers into another side of her practice. Flat Works surveys two decades of Yang’s paintings, prints, and collages, including her captivating series, Mesmerizing Mesh.

      “Flower Explosion Radial Folds–Mesmerizing Mesh #124” (2022), Hanji, graph paper on alu-dibond

      Geometric, floral motifs characterize the alluring compositions made from cut and folded hanji, paper derived from mulberry bark. Mesmerizing Mesh references shamanistic traditions, particularly in Korea, Japan, China, and Slavic regions, and what comes from communing with the spirit world.

      According to a statement about the series, the symmetric works allude to “sumun, a sheet hung from the ceiling in rituals…to keep away evil spirits,” while the more figurative, anthropomorphic pieces “resemble soul sheets (nukjeon), in which the shaman blows a spirit treated as the identical entity of the deceased being honored.”

      Like her sculptures, these collages similarly recontextualize a humble, everyday material. Although they’re two-dimensional, the layered works convey depth, each appearing as a kind of portal guiding viewers into an entrancing, mystical realm.

      Flat Works continues through December 20 in Chicago.

      “Fluoroscopic-Powered Fire Bird-Mesmerizing Mesh #130” (2022), Hanji on alu-dibond, framed, 62 x 62 centimeters

      “Blood Moon Finger-Pulling Bloom Formation–Mesmerizing Mesh #107” (2022), Hanji on alu-dibond

      “Rainbow Mist Germination Soul Sheet–Mesmerizing Mesh #184” (2023), Hanji, washi on alu-dibond

      “Thunder-Powered Ash Entrails Soul Streamers–Mesmerizing Mesh #148” (2022), Hanji on alu-dibond

      “Head Altar Formation–Mesmerizing Mesh #49” (2021), Hanji, graph paper on alu-dibond

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    • 163 Shares159 Views

      in Art

      In YoYo Lander’s Dynamic Portraits, Layers of Stained Paper Capture Light and Shadow

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      Detail of “Hold That Thought #1” (2021), stained, washed and collaged watercolor paper on watercolor paper, 20 x 16 inches. All images courtesy of YoYo Lander, shared with permission

      In YoYo Lander’s Dynamic Portraits, Layers of Stained Paper Capture Light and Shadow

      September 27, 2024

      Art

      Grace Ebert

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      From individually stained snippets of watercolor paper, YoYo Lander collages elaborate portraits.

      Each work begins with a photo session during which the artist focuses on capturing the sitter’s unique gestures, poses, and expressions. She then combines the reference images into a singular composition that conveys a particular emotion or experience.

      “Kara”

      In a recent body of work, Lander dresses her sitters in the same green sweater, the kindred knit signifying personal and collective growth and transformation. Similar to earlier pieces like “Hold That Thought #1” and “The Parts of Me That Get No Applause #2,” the more recent portraits are dynamic and impeccably constructed to convey light hitting a cheekbone or the shadow of a garment fold. Viewed up close, the textured, layered paper adds immense intricacy and depth to the already lively compositions.

      Many works shown here are included in Lander’s solo show Yesterday Was Hard, which is curated by Superposition Gallery for Phillips Los Angeles and on view until October 11. The artist frequently shares glimpses into her process on Instagram, so head there for more.

      “Hold That Thought #1” (2021), stained, washed, and collaged watercolor paper on watercolor paper, 20 x 16 inches

      Detail of “Naty”

      “The Parts of Me That Get No Applause #2” (2022), stained, washed and collaged watercolor paper on watercolor paper, 24 x 15.5 inches

      Detail of “Helen”

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    • 138 Shares169 Views

      in Art

      Narsiso Martinez Exalts the Individuality of America’s Farmworkers in ‘Joyfully Grown’

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      “Delano Grapes” (2024), ink, charcoal, collage, acrylic, and simple leaf on grape box, 16 x 24 x 5.5 inches. Photos by @ofphotostudio Yubo Dong. All images © Narsiso Martinez, courtesy of the artist and Charlie James Gallery, Los Angeles, shared with permission

      Narsiso Martinez Exalts the Individuality of America’s Farmworkers in ‘Joyfully Grown’

      September 18, 2024

      Art Social Issues

      Kate Mothes

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      “In the Works,” the centerpiece of Narsiso Martinez’s solo exhibition at Charlie James Gallery, spans three walls and is made from dozens of found produce boxes. At the center of the piece and above a doorway is a long table resplendent with apples, kiwi, oranges, and grapes, all crowned by a chandelier.

      Flanking the dinner, farmworkers climb ladders or sit on the ground, sorting the harvest into the very boxes the composition is made from. Back in the center, the faceless attendees at the table enjoy the literal fruit of the workers’ labor.

      “In the Works” (2024), acrylic, gouache, charcoal, collage, and simple leaf on produce boxes, 178 x 305 inches

      In Joyfully Grown, Martinez (previously) continues his exploration of the labor system, relationships, and power imbalances. He taps into his experience emigrating from Oaxaca when he was 20 years old, determined to find a more sustainable livelihood in the U.S.

      Martinez finished high school at 29, then went on to study fine art in college. While he pursued an MFA, he began working seasonally in eastern Washington’s sprawling apple orchards where he became acquainted with other farmworkers and learned their stories.

      The artist was struck by how individuals in America’s agricultural system, whose intense physical labor the entire framework relies on, go unseen by those who depend on freshly stocked produce in the supermarket.

      “Resist” (2024), ink, charcoal, and simple leaf on strawberry box, 20 x 11.5 x 5.5 inches

      Beginning with photographs, Martinez employs visual languages of prestige—drawing specifically on Catholic portraiture’s emphasis on luxurious fabrics and backgrounds of gold leaf—to empower and uplift workers.

      In “Resist,” for example, a young man is portrayed within the frame of a berry box, backed with gold and wearing a graduation gown. The cap encircles his head like a halo, invoking the divine and signaling the glorious potential of education.

      By elevating the humble cardboard box to the status of picture frame and depicting hardworking people in their esteemed individuality, Martinez scrutinizes who and what society values.

      Joyfully Grown continues through October 26 in Los Angeles. Explore more of Martinez’s work on his Instagram.

      “The Planning” (2024), ink, gouache, charcoal, acrylic, and simple leaf on berry box, 15.5 x 20 x 4.25 inches

      Detail of “In the Works”

      Detail of “In the Works”

      “Blue Joy” (2024), ink, charcoal, collage, acrylic, and simple leaf on blueberry box, 16 x 23.5 x 5.5 inches

      “Fresh is Our Favorite” (2024), ink, charcoal, collage, and acrylic on red seedless grape box, 24 x 16.5 x 6 inches

      “Embracing Future” (2024), ink, charcoal, and simple leaf on orange box, 23.5 x 16 x 6 inches

      Collaboration with Ashley Jose-Isip, “On the Grass” (2024), ink, gouache, charcoal, and simple leaf on grape box, 15.75 x 23.75 x 5.5 inches

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    • 113 Shares169 Views

      in Art

      Vibrant Life Emanantes from Meggan Joy’s Magical Collaged Silhouettes

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      “Try One’s Luck.” All images courtesy of J. Rinehart Gallery, shared with permission

      Vibrant Life Emanantes from Meggan Joy’s Magical Collaged Silhouettes

      September 9, 2024

      Art Nature Photography

      Grace Ebert

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      Thousands of individual flowers and plants grown in Meggan Joy’s Seattle garden form the contours of her ethereal figures. The artist (previously) collages perfectly trimmed photographs of each specimen into silhouettes lush with color and texture.

      In her most recent body of work titled Fever Dream, Joy draws on fear, loss, and the immense potential for pain. “Wide and Wild,” for example, depicts a woman cradling a Eurasian Eagle Owl near her heart. “She’s a piece for when you find your person (whether that be a lover, friend, kids, whatever), and once you have them, you know that if they disappear in any way, you also will be gone,” the artist shares in a statement.

      “Wide and Wild”

      Others relate to bad decisions yielding positive experiences and how etermal bonds require patience and understanding. Each work, Joy shares, “whisper(s) the components of the stories that tested us and, instead of condemning our faults, reveal that those moments left us the most exciting scars.

      Fever Dream is on view through September 25 at J. Rinehart Gallery. Follow Joy’s work on Instagram.

      “Thick As Thieves”

      “Thick As Thieves”

      “Try One’s Luck”

      “Icarus”

      “Tyche”

      Detail of “Wide and Wild”

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    • 150 Shares129 Views

      in Art

      Loss, Grief, and Renewal Spring Forth in Ebony G. Patterson’s Paper Assemblages

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      Detail of “Studies for a vocabulary of loss XXV” (2024), digital print on archival watercolor paper and construction paper with feather butterflies, plastic flies, roaches, spiders, and memorial rosette reading “affliction,” 47 1/2 x 30 1/2 x 12 inches (framed). Photos by Mikhail Mishin. All images © Ebony G. Patterson, courtesy of the artist and Monique Meloche Gallery, shared with permission

      Loss, Grief, and Renewal Spring Forth in Ebony G. Patterson’s Paper Assemblages

      September 5, 2024

      Art

      Kate Mothes

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      For more than a decade, the history, lore, science, and symbolism of the garden has been central to the work of Ebony G. Patterson (previously). In the summer of 2023, Patterson’s installation …things come to thrive…in the shedding…in the molting… at New York Botanical Garden marked an introduction to her series Studies for a vocabulary of loss.

      At this weekend’s Armory Show, the artist shares 24 new pieces from the series in a solo presentation exploring the symbolism of gardens and grief.

      “Studies for a vocabulary of loss XXV” (2024), digital print on archival watercolor paper and construction paper with feather butterflies, plastic flies, roaches, spiders, and memorial rosette reading “affliction,” 47 1/2 x 30 1/2 x 12 inches (framed)

      For Patterson, the garden is a rich metaphor for the body. She often interrogates themes of visibility and invisibility, navigating the intersections of gender, class, and race within the context of postcolonial space. In her paper assemblages, Patterson combines cutouts of foliage, butterflies, and blossoms with plastic insects and mourning rosettes.

      “Each piece evokes the imagery of memorial wreaths but with text that diverges from traditional funeral associations,” says a statement from moniquemeloche. “Patterson asks us to grapple with the impossibility of loss, reflecting on an extensive vocabulary centered on words like calamity, forgetting, perdition, misery, wound, lack, failure, blot out, debt, hurt, undoing, and havoc.”

      In the context of the garden, the loss and renewal of life are inherent in its natural cycle, and through vibrant and detailed reliefs, Patterson considers the cycle of grief and the potential for life.

      If you’re in New York, you can find Patterson’s solo booth on view from September 6 to 8 at the Javits Center. Find more on the artist’s website.

      “Studies for a vocabulary of loss XXIV” (2024), digital print on archival watercolor paper and construction paper with feather butterflies, plastic flies, spiders, and memorial rosette reading “blot out,” 47 1/2 x 30 1/2 x 12 inches (framed)

      “Studies for a vocabulary of loss XXII” (2024), digital print on archival watercolor paper and construction paper with feather butterflies, plastic flies, spiders, and memorial rosette reading “forgetting,” 47 1/2 x 30 1/2 x 12 inches (framed)

      “Studies for a vocabulary of loss XXVIII” (2024), digital print on archival watercolor paper and construction paper with feather butterflies, plastic flies, roaches, and memorial rosette reading “perdition,” 47 1/2 x 30 1/2 x 12 inches (framed)

      Detail of “Studies for a vocabulary of loss XXVIII” (2024)

      “Studies for a vocabulary of loss XXII” (2024), digital print on archival watercolor paper and construction paper with feather butterflies, plastic flies, spiders, and memorial rosette reading “forgetting,” 47 1/2 x 30 1/2 x 12 inches (framed)

      Detail of “Studies for a vocabulary of loss XXII” (2024)

      “Studies for a vocabulary of loss XXIX” (2024), digital print on archival watercolor paper and construction paper with feather butterflies, plastic flies, roaches, spiders, and memorial rosette reading “lack,” 47 1/2 x 30 1/2 x 12 inches (framed)

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