taraanned

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	<title>taraanned</title>
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	<description>taraanned</description>
	<pubDate>Wed, 17 Sep 2025 18:58:33 +0000</pubDate>
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		<title>commissions</title>
				
		<link>https://taraanned.com/commissions</link>

		<pubDate>Wed, 17 Sep 2025 18:58:33 +0000</pubDate>

		<dc:creator>taraanned</dc:creator>

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		<description>select commissionson merve ceylan &#38;amp; nadia yaron:&#38;nbsp;for francis gallery The texture of a quince, a peach, a black, not green, fig, Merve Ceylan explains, can contain an entire world. In her kitchen in Vienna, the fig between her fingers, splitting open in her mouth, pulls her back to Bursa, Turkey, where her grandparents were born and where she spent the years between seven and eleven. The three mottled aubergine-colored fruits emerging from the haze of memory in still life with black figs in a white bowl (2026) become a portal unto a distant landscape...continue reading.
on adam beris&#38;nbsp;for ochi gallery Asked in a recent interview whether his work engaged with an American art tradition, the conceptual artist Rudolf Stingel said no and quickly moved on to a discussion of landscapes. The question, however, stayed with Adam Beris, prompting a year-long reckoning with what such a tradition might look like today. Reprising inherited imagery, from Impressionist paintings to digital media, he examines the role pictures played in shaping the country’s contemporary culture. Adverts for Las Vegas call girls, coloring book pages, tire commercials, Christian self-help guides, and exhibition previews are among the sources Beris plumbs...continue reading.
on skylar hughesfor la loma projects In his eighth Duino Elegy, Rainer Maria Rilke writes, “with all its eyes the natural world looks out into the Open.” For the Austrian poet, the Open was a state of pure, unbounded presence enjoyed by animals who inhabit the world without standing apart from it. Something of that openness gathers at the center of Skylar Hughes’s Red Cave (2026). Dense clusters of undulating dots, at once like flowing water and flaring flames, surround a central crimson field. The broad, unbroken plane throws the surrounding textures into stark relief, arresting their motion and forcing the viewer to reconcile the painting’s stable interior with its restless frame...continue reading.
on mucki botkayfor artlance Layered planes in restless shades of green unfurl into a mountainous landscape, extending toward a rose-tinged dawn in the opening composition of Mucki Botkay’s Imaginary Windows at Anat Ebgi. At first glance, the flat shapes and iridescent surface of Untitled (2025) resemble a painting or perhaps a panel of stained glass. Only with your face inches from the frame does the glimmering vista dissolve into thousands of tiny glass beads stitched across the four-foot canvas...continue reading.

*on nicolas lefebvrefor francis gallery The 20th century critic Walter Benjamin believed that fragments carry the full weight of the whole. Within a sliver of ancient ceramic, the civilization that produced it, within a polished piece of coral, the entire reef. Like a mosaic, each tessera is both part and total. The artist Nicolas Lefebvre has a similar view of the artifacts he collects and composes. Traveling the world since childhood—through West Africa and the Peruvian highlands, coastal Portugal and India—he finds natural and man-made objects that suggest the existence of a greater whole, one that exceeds continents, cultures, and ages. By combining the discrete parts into resonant, unified sculptures, he points to what he’s called our collective memory: the symbolic inheritance that binds huma...continue reading.
*on john zabawafor francis gallery There is an oft-told story of a doctor traveling through a blizzard on the Arctic tundra with an Inuit guide. In the icy, impenetrable night, the doctor cries out that they are lost, to which his guide responds simply, “We are not lost. We are here.” John Zabawa’s paintings of white-whipped waves cresting over rocky outcrops, rivulets of seawater streaming into limpid tide pools, welcome viewers into a similar immediacy. The resounding crash, the fine net of spindrift, the salt announcing itself, just then, on the back of the tongue, are all present. Like haikus, his pared-back colors and contours distill phenomena into their most essential elements. Can the sound of a...continue reading.on inocencio jiménez chinofor bedford galleryTCultures across the globe have a version of the trickster tale where a clever animal uses wit to outmaneuver strength. In Nahuatl folklore from southern Mexico and Central America, Uncle Rabbit manipulates Old Man Crocodile and Uncle Coyote in order to feast on the farmer’s vegetable plot and escape unharmed.  At the center of vernacular artist Inocencio Jiménez Chino’s first retrospective are thirteen acrylic paintings on amate bark illustrating the oral story of Uncle Rabbit and the Wax...continue reading.


on josh callaghan &#38;amp; elizabeth schwaigerfor night gallery Elizabeth Schwaiger’s emphatic paintings and Josh Callaghan’s frenetic sculptures transform the gallery into a drawn room. The voluminous gestures of Schwaiger’s studio portraits create an illusory depth that extends beyond the frame. At the same time, Callaghan’s steel tubes delineate the negative space, lending them the appearance of three-dimensional doodles. Tracing marks and impressions left by forces come and gone, their works give form to the absence of presence....continue reading.*on gabrielle garlandfor miles mcenery gallery These houses aren’t abandoned; they don’t exist in a post-human apocalypse. Instead, they are the products of people’s labor, care, and creativity. That each house, despite the repetition of architectural elements and the use of familiar mass-produced materials, is distinctive, is a testament to both the ingenuity of their owners and the quality of the artist’s attention: her ability to discern the most illustrative details. It’s true that no two are alike, as Dorothy said: there’s no place like home....continue reading.

on annie hémond hottefor the pit “The labyrinth is the perfect oxymoron, which opposes the chaos of its tortuous and dark corridors to the geometric precision of its external forms,” wrote literary scholar Gaetano Cipolla. This sentiment can be applied to Annie Hémond Hotte’s meticulously rendered labyrinthine paintings. From a distance, the warp and weft of her innumerable marks coalesce in decorative textile patterns, such as herringbone, chevrons, vermicular lines, and tracery...continue reading.
*on anders scrmn meisnerfor the pit The Danish author Inger Christensen begins her seminal Fibonacci-inspired poetry collection Alphabet by listing things that exist: apricot trees exist, greylag geese exist, hydrangeas, lakes, and June nights exist. The continued repetition and accumulation of images have a physicalizing effect: the words appear as vignettes. The corresponding objects, arranged in mise en scènes and still lifes, feel tangible as if by the poet’s final line, you could reach out and touch them...continue reading.
on zaam ariffor the pitJohn Keats once observed that all one needs to write poetry is a “feeling for light and shade.” Zaam Arif’s cinematic compositions make a similar case for painting. Arif modulates illumination and darkness throughout his canvases for Lost Time. His sparsely populated interiors tarry the porous boundaries between day and night, photographs and reality, memories and waking dreams...continue reading.
on colleen hermanfor sarah brook gallery  The lyrical play of color and shape, line and negative space, evokes the theatrics of the seasons and their elemental atmospheres. To trace the gradated fields and translucent washes to their vibrant, saturated edges is to trace the painting's formal progression. From the initial pour to the shoring of details with oils, the artist's process is preserved on the surface like a diary...continue reading.
*on shara maysfor the pitMays's singular use of color not only confounds easy comprehension but disrupts arbitrary binaries. For the artist, exploring identity through vibrantly pigmented oil paints is an exploration of relationality, multiplicity, and the unknown. As a Black woman born and raised in the United States, she’s familiar with the way color is wielded as a constraining force—just as capable of obfuscation as revelation...continue reading.

*on carole ebtingerfor sarah brook gallery Standing before Promesse IV, you may see light flickering atop ruffled waters, streaming through leafy trees, or enshrining in gold, if for a moment, the pond’s mottled floor. But what you feel—what it makes you feel—is harder to place, harder yet to name. The rise and fall of light and shade across the twelve paintings comprising Carole Ebtinger’s A promise I want to resolve leads you toward the indescribable...continue reading. 

*on allison schulnikfor the pitWhen the speaker in T.S. Eliot’s The Love Song of J. Alfred Prufrock says, "I have measured out my life with coffee spoons," he means to say his life is burdened by the mundane. But for painter, sculptor, and filmmaker Allison Schulnik, spoons and all the quotidian activities they represent—nourishing loved ones, acts of service, comfort, and care—are from what a meaningful life is made...continue reading. 
*on carofor sarah brook gallery“To know the history of embroidery is to know the history of women,” observed feminist art historian Rozsika Parker. Indeed, thread is amongst the earliest tools of meaning-making coeval with the charcoal mark, the ochre line. Even now, it’s difficult to name a material more inextricably linked than fabric to the human experience....continue reading.on isabella cuglievan
for the pitThroughout, the lush, voluptuous brush marks feel generative, fertile, vividly alive, as if expressing the same energetic force that surges through all green things that grow toward the light. This vitality is, in turn, echoed and evolved with each restless brushstroke that proceeds sequentially from the one before...continue reading.
on jude paulifor la loma projectsPauli’s segmented ceramics, with their asterisks, discs, skittery lines, arrows, orbs, cones, and dashes, appear like a physicalized language. Composed vertically, like archaic cuneiform, the three-dimensional symbols and glyphs form words, sentences, and stories whose meaning is entirely alien and intrinsic, even primal...continue reading.

on sydney zester
for the pitStanding before Sydney Zester’s technicolor quilts, it is nearly impossible not to feel the exuberance—the sheer delight—of their creator. Harnessing the effulgent energy of color, the consonant pleasure of composition, and the embodied resonance of fabric, the eight textile works in Giddy and Gusto enliven and console in equal measure...continue reading.

*on fedor deichmann
for the pitOne does not need Wassily Kandinsky’s synesthesia or even to know that the painting’s title is borrowed from a symphony by Paul Hindemith to see music in Deichmann’s mesmerizing six-foot-tall Mathis der Maler. Traversing legato planes, sweeping gestural lines, and restless staccato brushstrokes reify the reach and resonance of a musical score...continue reading.
on tahnee lonsdalefor night galleryThis is not to say that her new body of work doesn’t solicit slow-looking—it does—but that the paintings are immediately astonishing. Leonora Carrington once wrote, “I want to make people feel, to see what they haven't seen, to imagine beyond what is possible.” These celestial panoramas, populated by diaphanous beings...continue reading.


*on hayley barker
for brepols publishing (print)Her verdant compositions, teeming with the elan vital of diaphanous grasses, lacy petals, and succulent citrus fruits, compel viewers to stop and rest awhile. As musical tones make nearby objects vibrate at the same frequency, the tender thrumming emanating from Barker’s pictorial worlds encourages reciprocal harmony. The pervasive sense of benevolence and serenity is bewitching...continue reading. 

*on tidaywhitney lek and veronica fernandez 
for night gallery Both
women plumb the depths of their experiences to render the ecstasy and agony of the human
condition in painterly bids for connection and acts of witness. In densely layered compositions that
merge past and present, inherited and embodied memories, self and other, both artists give form to
stories of love and loss as personal as they are universal...continue reading.

on david ‘mr.starcity’ white &#38;nbsp;
for the pitas Loverboy makes flowers unfurl from the earth, Mr.StarCity coaxes his vibrant portraits from soil, sand, pumice, charcoal, and acrylic. Their rough-hewn surfaces are lush yet acerbic, the gritty textures recall the sensation of having one’s hands in the ground. Loversboy's face, a polychromatic bouquet, emerges from the confines of a tightly cropped frame...continue reading.on gabrielle garland
 for the pit “the house, even more than the landscape, is a "psychic state," even when reproduced as it appears from the outside, it bespeaks intimacy,” wrote Gaston Bachelard in The Poetics of Space. When I recall the quote to painter Gabrielle Garland, she’s quick to tell me that she, like Bachelard, is “definitely a phenomenologist. That’s me!” To view her luminous oil paint portraits of technicolor houses is to understand precisely what Bachelard meant by the “psychic state” of a home...continue reading.

*on chase barney
for the pit According to historical records, the proverbial wisdom in the 17th and 18th centuries saw god, not the devil, in the details. That is until Friedrich Nietzsche pronounced god dead and amended the original idiom to der teufel stecktim detail or the devil in the details. For Barney’s effervescent clay sculptures, god is nowhere because he is everywhere, and the devil predominates by hiding in plain sight...continue reading. 

*on alan prazniakfor la loma projectsirresolution consistently asserts the need for imagination and invention; here, the land is simultaneously water, sky, mountain, meadow, and vista, always already just up ahead. Where an exacting replica of a mountain range can only reveal something of itself, Prazniak’s compositions depend upon the viewer’s collaboration and revelation for their full meaning...continue reading. 

*on emily yong beck
for the pit the sculptures in Soft Power visualize Beck’s reckoning with history’s claim on the present and her attempt to reconcile dialectically opposed truths about a beloved art form. Offering a poignant example of the ethical dilemma slated to define our contemporary moment: Can we cleave the past from the present? The artist from the art?...continue reading.  

on keita morimoto &#38;nbsp;
for night gallery the nocturnal cityscapes and portraits in as we didn’t know it are akin to stills captured from a single, atmospheric film or cropped sections along a much larger, continuous tableau vivant. The compositions feature moments of stillness while suggesting that action and revelation are imminent...continue reading.

*on gerald davis 
 for la loma projects to memorialize flowers in full wilt, stems bowed in acquiescence to the natural order of growth and decline, is to undermine the traditional imperative to rebuke the ephemerality of beauty and instead embrace life as it presently exists—yes, even wilted, yes, faded, yes cobwebs and all—....continue reading. 

*on skylar hughesfor la loma projects 

 resisting both narrative and categorization, the polychromatic images present an alternative way of seeing that is multifarious and dynamic. The world here is in flux, gracefully advancing toward knowability before again retreating, receding like the tide back into the sea. Inspired by the liminal periods of dusk and dawn, the muted palette emphasizes fluidity and ambiguity...continue reading 

 
on james goss 
 for the pitgoss sculpts, scrapes, layers, and manipulates enormous amounts of oil to emulate the crenelation of a flower petal, the lushness of a patch of grass, and the grit of a sandy beach. To see the ridges and grooves on the trunks of the elm trees is to feel their scaley bark beneath your palm in an inspired moment of synesthesia...continue reading. 

*on jieun reiner and niki ford
 for la loma projects both born of the earth, in subject or in substance, and shaped by the desire to manifest an internal tension in physical form, they enable the possibility of existing in the liminal space between nationalities, genders, and generations, between dreams and reality, past and present...continue reading.on jonathan casella
for the pit  “Poet and philosopher Henry David Thoreau advised in his masterpiece Walden that “if you have built castles in the air…that is where they should be. Now put the foundations under them.” Jonathan Casella imagined palatial vessels capable of holding the elusive, incandescent...continue reading.
on camilla engström
 for over the influence paris engström’s figures are rutilant, at once ethereal and carnal, the creators and creations of their landscapes. Their expressions are peaceful, pensive, and their dispositions benevolent, sublime. While fluid, glowing brushwork renders skin smooth and supple, complex chiaroscuro shading begets depth and anatomical definition....continue reading.
on cha yuree
 for over the influence hong kong 
to understand it this way, is to see how Cha’s women are engaged in something far more robust than their static poses could possibly convey and perhaps more fluid than the rigidity demanded by the roles they’re forced to perform...continue reading.

on brian robertson
for everyday moonday gallery

we are, despite all our efforts to conceal it, animals. Animals, whose behaviors are determined, in large part, by a complex series of chemical reactions. “We’re blind to our blindness,” says psychologist Daniel Kahneman on the difficulty of knowing ourselves...continue reading.

on hiroya kurata
 for over the influence gallery los angeles
this is what food looks like 2023: highly processed white cake with frosting and strawberries. This is what children looked like: chaotic, cheerful blurs of energetic life force in cotton shorts. And light: dappled. And parks: serene. And mothers: overworked but ever-present...continue reading.

on super future kid 
for mindy solomon gallery
the twin figures seen throughout, rendered in an exuberant color palette and arranged in striking compositions appear as two halves of the same whole; their relationship, a third thing that transcends the limitations and boundaries of the self...continue reading.


on jonathan edelhuber
for over the influence gallery los angelesevidence of erasure, rupture, and addition indelibly preserved on the canvas’ surfaces affords the works not only a spatial depth but a temporal one as well. &#38;nbsp;Each painting or sculpture reveals the stages of its creation, from blunt, flat strokes and splatters to robust finishes and scraped-down layer...continue reading.


on adam beris 
for over the influence gallery bangkok in this way, the works become almost like Rorschach Tests, where each viewer sees themselves and their own tastes, assumptions, and experiences reflected back toward them...continue reading.on andy dixon
 for over the influence bangkok &#38;nbsp;
portraying works of art as commercial objects, subject to reproduction and arbitrary market values, is to remove them from the realm of the sacred and the untouchable and understand them in their historical context, which is to acknowledge the social systems that made their creation possible and to interrogate the ways their subjects venerate and perpetuate those hierarchies...continue reading.</description>
		
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		<title>contact</title>
				
		<link>https://taraanned.com/contact</link>

		<pubDate>Mon, 27 Mar 2023 23:14:08 +0000</pubDate>

		<dc:creator>taraanned</dc:creator>

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		<description>please send inquiries, ideas, book recommendations, and love notes to: taraannedalbow@gmail.com


&#60;img width="1529" height="1013" width_o="1529" height_o="1013" data-src="https://freight.cargo.site/t/original/i/0da9f8093b53e24dfe654a7707aaf4ed22396609d3aab9f9303b0eeca8c33dab/cy-twomblys-bookshelf-tacita-dean-unpublished-mary-jacobus-1536x1092.jpg" data-mid="226509000" border="0" data-scale="69" src="https://freight.cargo.site/w/1000/i/0da9f8093b53e24dfe654a7707aaf4ed22396609d3aab9f9303b0eeca8c33dab/cy-twomblys-bookshelf-tacita-dean-unpublished-mary-jacobus-1536x1092.jpg" /&#62;
cy twombly's bookshelves photograph by tacita dean


select sweet nothings


	I don't know if I have ever felt more seen as a painter than right this moment having read your essay. It's so beautiful. I feel humbled by your generous words and just so deeply honored. WOW~!!!! Just wow!! Thank you soo soo much!!! --H&#38;nbsp;
	This is great!!! Elegant, poetic, vivid, informed, rich, energizing, cut from the same cloth as the paintings and puts words to the heart of them while keeping things open ended, free, humming. I'm honored, truly. Thank you for spending time with the work and sharing these thoughts. So happy that it resonates in this way for you, and helps to clarify / articulate many things for me. --S
	YOU. ARE. UNREAL.I actually almost cried. Thank you so much Tara!! I owe you a big meal and my first born child...Literally no notes though. Your writing makes me want to go paint more :P --C


	Tara, this essay is incredible! I have never had someone write for or about me with so much care and understanding. I really really love this text! Thank you thank you thank you I'm so excited to have your essay accompanying my work for this show!! --S
	I love it! It needs zero changes and thank you!!! Being able to sit and talk made a huge difference, you’ve explained what I’m getting at better than I have to myself so mission accomplished! --B

	This is the best thing anyone has ever written about my work. You nailed it! I couldn’t be happier! A lot of times these things are uninteresting and a bit boring…and a lot of times too technical. The way you write is highly enjoyable and I think people will get a kick out of it. Excellent job! --J
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		<title>BR</title>
				
		<link>https://taraanned.com/BR</link>

		<pubDate>Sat, 25 Mar 2023 23:49:00 +0000</pubDate>

		<dc:creator>taraanned</dc:creator>

		<guid isPermaLink="true">https://taraanned.com/BR</guid>

		<description>
	read on site 

The question is not, who are you; but what are you in Brian Robertson’s newest body of work. We are, despite all our efforts to conceal it, animals. Animals, whose behaviors are determined, in large part, by a complex series of chemical reactions. “We’re blind to our blindness,” says psychologist Daniel Kahneman on the difficulty of knowing ourselves. Feels attempts to shed light on this condition by depicting the chemicals and proteins responsible for many of our reactions, impressions, and feelings. The eleven hyper-realist, black-and-white portraits in this exhibition feature the artist’s friends wearing their regular clothes against a solid black backdrop. The primary difference between these portraits and those of the 15th-century masters? The subject’s heads are replaced by scientifically accurate renderings of various chemical compounds. Helixes of estrogen, orbs of dopamine, and spiraling strands of testosterone emerge from the collars of leather jackets, white T-shirts, and sweatshirts. 

Rendered at this scale and in Robertson’s signature photorealist style, the organic structures appear alien, monstrous, and artificial. An effect that echoes sociologist George Simmel’s observation that “coming closer to things often only shows us how far away from us they still are.” That the weave of the sweater, the fuzziness of the fleece, and the folds of the cotton, appear more organic and human than the molecules that make up the building blocks of life underscores the earlier assertion that we are mostly ignorant of what’s happening inside ourselves and others.&#38;nbsp; 

The disconnect between exterior and interior, reality and appearances, is dramatized by the subversion of expectations and the scope and scale of the contrasting elements. In Gut Feeling and Cold Feet, sinister systems of nerves emerge from a sweater with an embroidered happy face and buttoned-up dress shirt, respectively. The uncanny juxtaposition of familiar and foreign throws the limits of appearance to reflect truth into stark relief. In a society that privileges sight over every other sense, it’s easy to forget that what we see is neither the whole picture nor objective reality. In externalizing otherwise hidden processes, the possibility of incongruity between presentation and substance becomes apparent and, along with it, the difficulty of discerning between the two. &#38;nbsp; 

Replacing the brain, the organ primarily associated with consciousness and rational thought, with various organic structures, Robertson challenges the assumption that we are entirely in control of our thoughts and actions. In privileging chemical compounds and proteins, the viewer is asked to reckon with the biological fact that, similarly to animals, many of our behaviors are automated, instinctual, and unconscious. “Chemicals and proteins, reacting to their environment without our knowledge or consent, determine what we feel,” explains the artist. In other words, the decisions we make, what we say, do, and decide, even on the level of the clothes we wear, are byproducts of an infinite number of chemical reactions we not only can’t control but can’t understand. 

That the people who sat for these portraits are friends of the artist incites the question: if we can’t see ourselves, then how can we see others? While the compounds appear to belong to the person sitting for the portrait, they were, in fact, assigned by Robertson. That he chose estrogen to represent the friend featured in All Wound Up or a serotonin carrier protein for the friend in Hedone tells us more about the artist than it does the subject. In Hug Dealer, a female in a paint-covered sweatshirt sits with her body angled toward the artist, poised above her shoulders a bulbous neurotransmitter, one responsible for reducing nerve activity associated with stress and fear. Whether the neurotransmitter’s role as a calming agent reveals something about the artist’s estimation of the subject’s interior world, the artist’s feelings about them, or their relationship is impossible to discern. In this way, the paintings function as quasi-self-portraits or perhaps renderings of the center of a Venn diagram, the space where one subjective projection overlaps with another. 

While we may not be able to trust appearances, it’s abundantly clear that the technical precision employed in the production of these paintings could only have come from a masterful hand and the ambition of the ideas from a carefully cultivated mind. That eleven medium-sized works could incite so many questions about human nature is a testament to Robertson’s remarkable ability to synthesize complex concepts and render them in paint. When asked if he’s found answers to the questions he posed, he says he’s only found more questions. Echoing Simmel’s earlier sentiment, Robertson affirms that, “new insights always lead to greater mysteries.”

 
&#38;nbsp; &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; 

 
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		<title>AB</title>
				
		<link>https://taraanned.com/AB</link>

		<pubDate>Sun, 26 Mar 2023 01:34:13 +0000</pubDate>

		<dc:creator>taraanned</dc:creator>

		<guid isPermaLink="true">https://taraanned.com/AB</guid>

		<description>
	 read on site&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;

Adam Beris is breaking out of the grid. What began as a happy accident back in Kansas City when a friend gave him a box of old paints has become, over the last few years, Beris’ signature, highly recognizable style. Organized in exacting rows across the canvas, Beris renders familiar glyphs, objects, symbols, and faces, in an entirely unexpected way. Applying pigment straight from the tube onto the canvas, he creates tangible objects, sculptural in nature, that challenge our understanding of the production and presentation of painting. 


After graduating from Kansas City Art Institute with a dual degree in Painting and Creative Writing, the artist had seen enough of what he didn’t want to do: flat figurative representations and familiar gestural abstractions. In the spirit of resisting his formal training and diverging from the popular styles of the time, Beris developed an approach to painting that both emphasized the materiality of his medium, oil paint, and challenged the common perspective of the picture plane. The tension between the excrescent goopiness of the icons, and the precision of the grids they are organized within, call attention to Beris’ dominance over his material, a notoriously difficult paint to control.


Upon seeing the grids for the first time, one feels compelled to decode or translate the meanings behind their complex lexicons. “People always want to know what they mean,” says Beris. “They don’t mean anything.” Rather than trying to decipher the intent behind the arrangements, Beris wants people to generate their own narratives and interpretations. In this way, the works become almost like Rorschach Tests, where each viewer sees themselves and their own tastes, assumptions, and experiences reflected back toward them. 


To this point, Beris insists that he doesn’t lay them out first. He starts with a blank canvas and, one by one, fills it with objects. To see each icon as distinctive and devoid of pre-determined, relational meaning is to see them as physical objects lined up on a shelf, more precisely, Beris’ possessions lined up on Beris’ shelf. If Gustave Flaubert is correct in saying that the objects we are attracted to are not haphazard, but are material expressions of something intangible but essential to our souls, then what we’re seeing before we project ourselves upon them are pieces of Beris’ soul--pieces the artist himself doesn’t exactly understand. “Painting is more than just colors and shapes and aesthetic choices,” Beris says. “There’s a mystery to painting. It sounds cheesy, but paintings really do function as windows into someone’s soul.” 


While Beris is committed to maintaining that sense of mystery for himself and his audience, he admits that a few icons point toward pieces of his soul that he’s more conscious of including, such as abstract allusions to contemporary and canonical artists whose works inspire and inform his process. One can find nods to Ellsworth Kelly and Hilma af Klint among others, nestled between cacti, rainbows, and tennis balls. Other references to the history and practice of artmaking include cigarettes, pieces of fruit, and miniature landscapes. Others draw attention to the act of perception itself, like bulging eyes and geometric cubes. 


Whether a product of randomness or unconscious evidence of Beris being a serious artist as well as a man with the sense of humor of an irreverent teenage boy, specific arrangements lend themselves to more apparent interpretations. It’s hard to miss the pair of breasts with nipples resembling the mathematical sign beside them in Navy Blue Sedan. Or the two men staring at each other in Window II, an orange Cheeto between them. When a swirl of poop is plopped beside the artist’s initials, the placement reads as evidence of the artist’s tendency toward self-depreciation and a willingness to poke fun at his more grandiose ideas about artmaking. 


To see this selection of work together is to see a snapshot of the artist’s process. Beginning with vibrant color fields, he moves toward the eventual inclusion of a horizon line, with gradients, formal experimentations, and the inclusion of inanimate objects, along the way. The progression bespeaks a commitment to refinement, innovation, mastery of craft, and a refusal to stagnate. In this way, the emergence of a landscape in the most recent painting in the show seems to symbolize Beris painting his way out of the grid. 


Redirecting the same resistance he aimed at the formality of his university training back onto himself, Beris is ready again to push the limits of his practice and his paint. While it’s safe to assume the physicality of his materials will continue to be front and center, what’s next is still mysterious, which is precisely how he wants it—with plenty of space for the work to emerge on its own terms. Beris says he’s ready for messy and a little more freedom. Freedom to paint outside the lines, or in this case, the grid.

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		<title>JE</title>
				
		<link>https://taraanned.com/JE</link>

		<pubDate>Sun, 26 Mar 2023 01:34:08 +0000</pubDate>

		<dc:creator>taraanned</dc:creator>

		<guid isPermaLink="true">https://taraanned.com/JE</guid>

		<description>
	read on site &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
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Skulls are commonly considered a morbid symbol, a reminder of our mortality and the transitory nature of human existence. In modern society, a skull is most often used to denote poison, danger, or impending threat. A phenomenon that perhaps bespeaks our collective strained relationship with death or lack thereof. However, in ancient times, cultures from Mesoamerica to the Middle East celebrated the skeletal emblem, considering it as much, if not more, a reminder of life, resurrection, and prosperity. All the way into the 14th and 15th centuries, the skull sat firmly between memento mori and carpe diem. 

Tennessee-based artist Jonathan Edelhuber is committed to restoring that lost sense of joy, vitality, and vibrance to the misinterpreted motif. Warmer Mornings Sharper Nights features thirteen paintings, oil and acrylic, and six sculptures, wood, that celebrate the ecstatic joy of existence. Brightly colored, highly textured, and densely layered, the skulls, rendered in the artist’s signature graphic pop-art style, vibrate with life. Their various expressions evoke feelings often reserved for those with nose cartilage still intact, like delight, amusement, and surprise, and encourage viewers to imagine them laughing, jesting, or conversing.&#38;nbsp; 

“There’s so much beauty and happiness in being human. I’m thinking of music, art, food, raising kids, community,” explains Edelhuber. When asked why he’s chosen to neglect the flesh, he cites a desire to strip away identity, to delve beneath gender, race, and class. It’s true, there’s something fundamentally human about the animated, technicolor heads that inspires a fundamental fellow feeling. To see one another as members of the same species with the same anatomical structure, as this exhibition wills us to do, is to see each other first and foremost as humans, with far more in common than not. 

Despite the lack of muscle, skin, and hair, the viewer's imagination rushes in to ascribe the skeletal figure's human feelings, gestures, narratives, and, when placed together, relationship dynamics. In Here for a Time, which depicts two skulls angled toward one another, one sees them as leaning in for a kiss or about to butt heads. With the individual portraits, like Burning and Cooling No.2 and Brave New World, their enormous, empty eyes appear to be aimed directly at the viewer, in want of a connection, confrontation, or both. 

While Edelhuber may resist the art world's current preoccupation with identity, his distinct style reads like a fingerprint. Florescent colors, robust patterns, and rich textures abound. That the artist’s process is both physical and intuitive is clear from his palpable presence in the paintings. Evidence of erasure, rupture, and addition is indelibly preserved on the canvas’ surfaces affording the works not only a spatial depth but a temporal one as well. &#38;nbsp;Each painting or sculpture reveals a different stage of its creation, from blunt, flat strokes and splatters to robust finishes and scraped-down layers.

There’s an urgency, an improvisational quality, and a roughness that leads one to half expect the paint to still be wet or to find the artist just around the corner, a brush in hand. While this impression belies the careful compositions and color pairings, it emphasizes the work's exuberance and celebrates the very act of mark-making. The result is a triumphant merging of theory and practice, where the content celebrates vitality as well as the materiality of the work, a lasting record or testament to the artist’s own life force. Although not his alone. 

Fans of Edelhuber’s oeuvre know his fascination with influence and lineage; his work often features the names of his canonical muses, such as Pablo Picasso, Cy Twombly, and Helen Frankenthaler. “Not necessarily what they painted, but how they painted, is always on my mind,” says Edelhuber, citing Robert Motherwell and Katherine Bernhardt as particularly present in this exhibition. In this way, the artist is also preserving and progressing their legacies and the legacies of all those who came before them in the great human tradition of artmaking, and so rendering Warmer Mornings Sharper Nights a celebration of life but also life after death.&#38;nbsp;

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		<title>Typo</title>
				
		<link>https://taraanned.com/Typo</link>

		<pubDate>Sun, 26 Mar 2023 01:34:16 +0000</pubDate>

		<dc:creator>taraanned</dc:creator>

		<guid isPermaLink="true">https://taraanned.com/Typo</guid>

		<description>
	read on site&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;

PROCESS

Basically eight states six yearsfive Christmasesfour sets of sheetstwo tattoos and one blue ringadd up to zero.This is how I explain things to the bartender with a voice like wet marblewho's asked if I've ever had grappaand to my motheron the phone in the rainwho asks if I've begunto fetishize the pain.If there are eleven street lights and six trash cansbetween Jane Streetand our old apartment on Charlesand the word zero is derived from the Arabicsifr meaning "empty"—is this a reason or a product?A product in the same way as rageglass Prozac pink bruisescertain gods and honey.The constant beating of the bee's wings evaporates the water allowing the nectar to thicken to honey. Things evaporated under the pressureof his beating:lobster heads on white linenwine legs in the ceramic bowlspace between thighs throat skinuntil all that was left was red.The longest slowest summer discernible to the human eyeand sudden I breaking apart the innumerable ways— 

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		<title>About</title>
				
		<link>https://taraanned.com/About</link>

		<pubDate>Sat, 25 Mar 2023 23:49:02 +0000</pubDate>

		<dc:creator>taraanned</dc:creator>

		<guid isPermaLink="true">https://taraanned.com/About</guid>

		<description>
	tara anne dalbow is a writer, editor, and curator living in los angeles, ca. 

she currently writes criticism, exhibition essays, catalogue text, press releases, artist statements, grant applications, and project proposals for artists, galleries, and cultural institutions.&#38;nbsp;
she is editing two literary fiction novel manuscripts. 


before moving to los angeles, she conceptualized and created a new contemporary art initiative in the hudson valley, the barns art center. as gallery director and curator she also produced and immersive film experience, lost arts, and developed a large-scale, site-specific installation with FUTUREFARMERS.

tara has also developed&#38;nbsp;curriculum and taught for the school of the new york times,&#38;nbsp;contributed fashion, lifestyle and culture articles for numerous online and print publications such as blackbook magazine, man repeller, and into the gloss, and created press, marketing, and social media stratedgy for numerous brands.&#38;nbsp;

sarah lawrence college, mfa
chapman university, bfa

cv
resume


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		<title>SFK</title>
				
		<link>https://taraanned.com/SFK</link>

		<pubDate>Sat, 25 Mar 2023 23:49:02 +0000</pubDate>

		<dc:creator>taraanned</dc:creator>

		<guid isPermaLink="true">https://taraanned.com/SFK</guid>

		<description>
	 read on site&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;

Mindy Solomon is pleased to present an exhibition with New York-based, longtime gallery artist Super Future Kid. Moonrise Sisters is her first solo exhibition since moving to the United States from the United Kingdom.&#38;nbsp;


Super Future Kid is seeing double. The seven paintings in Moonrise Sisters illuminate the generative power of human connection with extraordinary emotion and immediacy. A departure from her previous works, which primarily championed individual characters and their nonhuman guides, such as butterflies, cats, and bears, this exhibition celebrates human companionship. 


The twin figures seen throughout, rendered in an exuberant color palette and arranged in striking compositions appear to be two halves of the same whole; their relationship, a third thing that transcends the limitations and boundaries of the self. The artist’s interest in Plato’s twin flames, a single soul split into two bodies, comes in part from her grandparent’s relationship. “They were so united and connected that they became one whole until my grandfather passed away,” says SFK. The artist employs symmetry, reflection, and mirroring to emphasize the figure’s interdependence and the impossibility of harmony, balance, or equilibrium if the halves were to be separated. 


In rendering the invisible bonds that form between two people visible, a butterfly emerges between two outstretched hands in Flap Your Wings, and a mirage appears between two bodies as if a portal in Adventure Awaits. While in Wild Sunsets, the connection is illustrated by the merging of two faces pressed together. The fusion creates a new visage, a unique set of eyes, capable of holding two distinct perspectives at one time. The tears overflowing an eyelid and dripping from a nostril underscore the blurring of boundaries between inside and out, the self and other. 


The pairs can be seen as sisters, lovers, best friends, and even as different versions of the same character, perhaps the artist. To understand them as quasi-self-portraits is to see how the artist relates to others but also herself and her practice as an artist. If the rainbow-lipped cartoon profiles in Bloom Tales represent the artist’s origin and the realistic depiction of the two friends in Bearadise points toward the artist’s future, then Pour Me a Rainbow brings them together with a cartoonish representation of a younger self-supporting the realist figure in the burgeoning present. A gesture that serves as a poignant reminder to stay in touch with all the people we’ve been before, especially the wonder-filled child. 


That SFK is in touch with her inner child is evident from the playful nature of her subject matter, her wholly imaginative, unabashed style, and her signature technicolor palette. No two colors are the same,” explains SFK. “I mix them for each exhibition, and they exist and then are gone.” This show’s palette embraces soft lilacs, electric pinks, and vibrant shades of cobalt blue, though the entire spectrum can be found within almost all her exhibitions in some form of a rainbow. In Moonrise Sisters, they bedeck boots, necklaces, and even lips. Like the fleeting existence of her paint colors, rainbows underscore the artist’s interest in the ephemeral nature of beauty and the possibility of transformation from a dark and raining storm to a trail of brilliant colored light. 


Rainbows are only one of many recurring motifs in SFK’s oeuvre. Water appears in the form of tears, lakes, and flower vases; its shifting state records the fluid passage of time. Butterflies recur as hair clips, guides, and the embodiment of connection. Bears, hearts, stars, flowers, flames, and totems transfigure between paintings. The recursive use of symbols produces a sense of unity and cohesion between the paintings to the effect of further immersing the viewer in the artist’s dream world. With each repetition, the icons amass new meaning, energy, and continuity. In this way, it’s not only the relationships being depicted that represent a whole greater than the sum of its parts but the work itself. 

One would be hard-pressed to walk through the exhibition and not feel an overwhelming sense of joy, comfort, and desire to sit amongst the flowers and stay a while.&#38;nbsp;

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		<title>Projects</title>
				
		<link>https://taraanned.com/Projects</link>

		<pubDate>Mon, 27 Mar 2023 22:08:53 +0000</pubDate>

		<dc:creator>taraanned</dc:creator>

		<guid isPermaLink="true">https://taraanned.com/Projects</guid>

		<description>
	select projects


dreamspace associate curator 

a six-week residency with curator and artist megan whitmarsh featuring musical performances, workshops, meditations, rituals, readings, and more
(website design by yours truly)

	
barns art center galley director &#38;amp; curator

a contemporary art initiative that highlights art and artists in dialogue with food, farming, ecology, and sustainability, with exhibition, education, and community programming&#38;nbsp;
(website design by yours truly)


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		<title>CE</title>
				
		<link>https://taraanned.com/CE</link>

		<pubDate>Sat, 25 Mar 2023 23:49:01 +0000</pubDate>

		<dc:creator>taraanned</dc:creator>

		<guid isPermaLink="true">https://taraanned.com/CE</guid>

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Over the Influence Bangkok is pleased to present&#38;nbsp;Undercurrents,&#38;nbsp;an exhibition of 16 paintings by Camilla Engström. This is the first time the artist has shown in Thailand.

Camilla Engström paints the seasons. In the summer her work is exuberant and cheerful, demonstrative of a spirit embracing the exterior world, overflowing with abundance and energy. In winter, the artist says she goes inward. She hibernates. Her usual technicolor palette cools, her sun is eclipsed by a moon, and the energy slows to a near stillness. Or least that’s how it appears on surface. But beneath the visage of darkness, and stasis, new life and revelations continues to burn brightly.&#38;nbsp;Undercurrents&#38;nbsp;explore the profound transformation that occurs beneath the surface of the earth, and the human body, during times of perceived stillness and rest. A theme that mirrors the&#38;nbsp;artist’s&#38;nbsp;own practice, who during her&#38;nbsp;blue (and emerald green) period, generated sixteen paintings capable of capturing the whole of the human condition in chromatic luminosity.

The first painting Engström made for the exhibition, Saffron Hills, acts as a portal, a transition from the elation of summer to the introspection of winter. By physically adding the autumnal tinge of fall, in the form of ochre paint, to the vibrance of summer, a yellow-orange paint, she renders a landscape in the golden cast of a sunset. A sinking sun is mirrored by a bourgeoning moon in a painting that preserves, as if in amber, the liminal space between day and night. Orbs and circles figure heavily in the exhibition taking the forms of celestial bodies, wombs, lakes, and irises. Full, organic, and biomorphic, they call attention to the cyclical nature of life and death; the unity of all things; and the wholeness of the self, body and mind, conscious and unconscious, visible and invisible.

In Protector and&#38;nbsp;Remembered Lands the artist gives mother nature a human corporality. In Protector&#38;nbsp;the bulbous belly of an abstracted female form holds in gestation the blooms of the spring to come, while in&#38;nbsp;You are the Earth&#38;nbsp;the land itself is attributed anthropomorphic qualities such as erect nipples and a full derriere. In&#38;nbsp;Sweet Stillness and&#38;nbsp;Sweet Stillness at Dusk&#38;nbsp;the&#38;nbsp;figure’s&#38;nbsp;boundaries are entirely erased rendering it impossible to locate where the face ends and the sky begin. Beyond exploring the intrinsic connection between the feminine and the natural world, the fusion of the organic and the human calls attention to&#38;nbsp;man’s&#38;nbsp;interdependence on the earth and generates a level of empathy that is often exclusively reserved for the human species. If not our mothers, who then are we willing to save?

The artist explains that while she does retreat to nature when looking for inspiration, the world rendered in her paintings is less a depiction of a particular place and more a manifestation of a feeling she experiences while there. “Nature&#38;nbsp;is already so beautiful, I&#38;nbsp;don’t&#38;nbsp;need to recreate&#38;nbsp;it,”&#38;nbsp;says Engström. A testament to the&#38;nbsp;artist’s&#38;nbsp;remarkable ability to convey tone with specificity and immediacy, one would be hard pressed to walk through the exhibition, and not feel an indelible wave of comfort, peace, and gratification. The voluptuous curves, undulating lines, and lush palate all but envelop the viewer into the&#38;nbsp;artist’s&#38;nbsp;wonderment.

Engström’s alter-ego, Husa, a familiar character in Engstrom’s&#38;nbsp;oeuvre, makes numerous appearances in a multitude of forms.&#38;nbsp;“They’re&#38;nbsp;all&#38;nbsp;Husa,”&#38;nbsp;says the artist, who goes on to explain how Husa has transformed along with her over the course of the last several years. Within&#38;nbsp;Undercurrents she manifests as a child or as a mother and other times as a young woman somewhere between the two, not unlike the artist herself. In&#38;nbsp;Inner Sight, Husa lays daydreaming, her hair floating like a cloud above her, hand dipped in a blue iris doubling as a limpid lake, while in&#38;nbsp;Mountain Blanket,&#38;nbsp;she pulls a mountain range over her face in preparation for a night full of dreaming. Both works, as with many in the exhibition, offer symbolic nods to the surrealists, such as Rene&#38;nbsp;Magritte’s&#38;nbsp;clouds, Salvador&#38;nbsp;Dali’s&#38;nbsp;flames, and Man&#38;nbsp;Ray’s&#38;nbsp;eyes. Allusions that underscore the&#38;nbsp;artist’s&#38;nbsp;metaphysical ideas about the practice and process of art making, self- reflection, and the mystical/meditative nature of inspiration.

Glowing orbs, blazing fires, and luminescent clouds float from painting to painting, a poignant reminder of what is only visible at night, and perhaps, a call for us all to continue to seek the light, literally and metaphorically, as the days grow shorter and the temperature lower.
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