Politics, Practices, and Emotions
Politics, Practices, and Emotions
October 16th - 31st, 2009, opening Thursday, October 22, 6 to 8pm.
Darren Jones, Joseph Farbrook, Andrea Cucchi, Jordi Aguilar, Dilek Ozmen, Milena Jovicevic Popovic, Igor Zaytsev, and Maria Luisa Imperiali
Politics, Practices and Emotions is a group exhibition curated by Basak Malone that focuses on the construction, and deconstruction of communication. In this multidisciplinary show, the creative act is explored through a variety of sources, from landscape and body, to sexuality and gender. The timeless subject of practice is characterized in Politics, Practices and Emotions—from the emotion art can create, to the conceptual and theoretical act of the artists vision. The exhibition explores unseen territories within contemporary art, juxtaposing Formalism, biography, and psychoanalysis, the works explore how personal politics help us dig deeper into our own selves, allowing us to know ourselves better and to find the answers within us. In the same way artists take time to reflect and respond to their medium or environment, the viewer will also. With this collection of artists Malone shows us how wonderful it is to explore the art of both emotion and creation.
Bermuda Watercolors / Cultural DNAism
Bermuda Watercolors by Maureen Dougherty
Cultural DNAism by Jamie Dalglish
October 16th - 31th, 2009, opening reception: Thursday, October 22nd, 2009, 6 - 8 pm.
Husband and wife duo Maureen Dougherty and Jamie Dalglish will present separate yet concurrent exhibition at the Broadway Gallery NYC.
Maureen Dougherty
“Over many years of traveling throughout the Caribbean I finally visited Bermuda this past July lured by its close proximity to New York City a direct one hour and forty minute flight! I was immediately overwhelmed by the abundance and girth of native Norfolk Island pine, local flora in summer was bursting with cobalt greens, blues and cadmiums of many vital shades. I returned in September to continue painting where I found another palate shaped by the unpredictable weather patterns of fall native to the island. Along her shores I painted the experience of the movement of crystalline light as it travels from deep across the emerald horizon over the grey volcanic reefs that circle the island forming an ultramarine cobalt violet barrier that merges with turquoise and lands on pink shore lines. These colors create rhythm of time and space, a medium like watercolor is perfection for capturing this synthesis.”
After taking a course with Peter Agostini at the NY Studio School Dougherty never let go of his prescribed technique of treating the medium of watercolor. His use of intuitively layering and pushing transparent color over another with a dry napkin absorbing excess water creating space time intervals of light reflecting off the surface of the cold pressed paper. It is through these transparences where you enter the painting and travel through it experientially as if you are part of the process of making the painting.
Jamie Dalglish
CULTURALDNAism
Continuing morphoglyph and holding a part of the cultural front.
Morphoglyphs progress thru pixels.
An hueristic gesture can I?
Visions coming into me into you.
My late friend Lawrence Alloway also noted the presence of “interruption of authorship”. In 1991 morphoglyphs engage a cinematic presence in my painting. The colors of my soul reveal oblique actions and character changes for each time one looks or doesn’t.
BEFORESPLITTING
Delaying gratifacation in a back and forth manner.
Occuring again and again. Differently each time.
ITSAYSNOITSAZ/ YES.
As in frames per second wearing a tie with the very right knot. Phenomena occurs by way of engaging the cinematic presence. By way of staying liquid knowing when to hold ‘em…..fold ‘em.
By way of Robgrille the equal panels I paint on separate bubble and play. In a grand stylistic manner. From the top to the bottom a female column. Drawing a morphoglyph with equal panels becoming another morphoglyph. In the gloaming glow of decay by an apple orchard and cows up there on the hill.
DONANONOBISPACHEM
pachem
Keep the crossroads away out from the crucible out of my soul. My soul waits and senses a deft touch distracted feeble it falls down again.
Never mind the mosquitos.
Because the first frost packs the air.
Hands on the red rock granite wall looking at the plinth of water light sea.
Within my colors based on my nature yields the threshold of light. I’m pulling liquid matter from within. Searching around architectonic paths.
ASIGNSAZ
“Number of conc=secutive daze error”.
By way of holding liquid colour the spatial scope becomes form.
“That didn’t take long”.
Evanescent and cinematic
“ODDSANDENDSDETAILStheblackbearon the skylight” odds and ends details.
Avoiding facism, Free, Stillnessses, Breathnesses. Like a dance like a saraband like a passagalia like a roll in the hay or down a hill that no one can take away
STOP.
Morphoglyph matter rises organically.
The subjective site within the subjective use of equal panels. Finding the very right placement. Not. Maybe. Before. After.
REPOZ
These equal panels become the phenomena of frames per second in “WWI WWll VIETNAM”and boots on the ground ANDBOOKSTOSITON ASPERMSAZIAM
Music composing morphoglyphs. Revealing an oblique presence maybe.
“EARTHAIRFIREWATERAIR”
“WhyTHETree?
Because of Pain AND BECAUSE RAIN CUNSAROU AND SAZND
Melting SNOWBALLS where the sun setting in the river GOZ WHERE FIREY GLOW GOZ MELTING SNOW”
“I have the energy to make you laugh brothers are as two knee caps”.
