Anagnorisis Fine Arts


Babble Report I by Binnorie

Do to take a peek at the most recent posts Anagnorisis’s Samantha Levin has up on the Beinart Surreal Art Collective and the Creep Machine:

Or, to satiate those with a lower attention span, please visit Samantha’s sublime Tumblr blog.

Beinart:
Martin Wittfooth’s Dark Water

Dark Water contains paintings from many artists whose work frequently explores these depths, curator included.  Remarkable about the dark nature of such art, is its quality for redemption, relief or realization.  Furthermore, each of these work’s unique elements of beauty can be simultaneously stunning and soothing, offering solace for the heavy subject matter they symbolize.

Read more…

Beinart:
The Indispensable Import of the Cute & Creepy

This exhibition of sweet and sticky macabre art represents curator Carrie Ann Baade‘s efforts to act as ambassador between the contemporary grotesque and the academic environment.

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Creep Machine:
Paul Komoda // The Thing Comes to Life

The artist talks a bit about his creature concepts for the movie and his experiences working on the movie.  Exclusive peeks at the monsters he designed for the film!

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Creep Machine:
Travis Louie’s Curious Pets

A mini sneak peek into Mr. Louie’s latest solo exhibition on the west coast.  Opening this weekend!

Read more…



That Which Remains by Binnorie

What remains after all decor is stripped down to our bare bones is what makes us who we are. What happens when we are forced to see this part of ourselves?

When diagnosed with Crohn’s Disease, artist Yuri Leonov became forced to see his young life from a new perspective, and to rely upon modern technology to keep his angry immune system at bay. Through his art, Yuri explores how he feels rooted, stuck and limited by those tools that are intended to help him, and what Remains of his self: past and future.  His explorations extend out to the world at large, how our own artificial advancements remove us from what is most important, and the paradox of how our efforts are quite possibly leading to our downfall.

Yuri pulls no punches. His work and the ideas behind it are wrought with emotion: questions about life and memories of the past. His work is introspective, offered to the world en masse as possible catharsis for all of us suffering from mortality. Yuri’s is a case of illness in youth, yet he is a very strong and determined individual; honestly he looks very healthy. His work is very well thought out, intelligently emotional and meaningful. His art is not his heart on his sleeve; it is an earnest search for relief.

Taught old master technique as a boy in Russia, he has some serious old master technique chops in his arsenal, yet he is not a realist. Much of his work is abstract and his paintings which incorporate realistic figures, interiors and landscapes are often created with non-traditional mediums including bugs and his own spit. “Though the work is figurative, the initial structure is an abstract framework of composition that allows the series to be interpreted as a unified body.” Additionally he adds meaning to his painting technique (the use of unmixed white paint, for example, is used on several works in this series as a connective visual element), and each series of paintings tell a story of growth, change or realization. There are very strong concepts underlying all of his works, some of which he describes openly and some of which he has chosen to keep private.

Remain is ethereal, ghostly and, at the same time, very human.  In my mind, the concepts behind the series connect to Parke-Harrison’s Counterpoint series, and the surrealistic story-lines and imagery of some of Adrei Tarkovsky’s films.  Additional man versus technology connections can be made to Masamune Shirow‘s Ghost in the Shell.  Remain is representational of a review of the past and an uncertain future filled with metaphor, private and shared.

A personal and philosophical description of his work:

Remain, which focuses on my own shortcomings and limitations is my most intimate and personal body of work to this day. The strange conviction of self-importance is present in everyone, all of whom will undoubtedly leave this realm of existence; and so all of us attempt the best we can to avoid the inevitable constraint of time by shifting the significance of existence to the things we attempt, or pretend to know. We ignore the larger, unknown to us, scheme of things in which our whole existence is just a miniscule fragment of the general process far beyond our control, instead focusing on trying to control what we think we can.

As such, control, time and scale are the major concepts I have explored in Remain. The act of making art is an excellent example in itself: convinced by a blind ambition that this determination will somehow hold back the weight of time, and prolong my existence even if in a non physical sense. After developing and now living with serious health problems, I have also developed a solid understanding and a persistent reminder that I will die, along with everyone. What will remain?

Remain will be on view at the White Rabbit’s White Box for only a short while longer.  Some works have sold and others are still available for collection.  To view them online and for further details about his exhibit, please visit the Remain gallery here.




Angelic Possession by Binnorie


Portrait of Carrie Ann Baade

Anagnorisis Fine Arts is proud to present Angelic Possession, a solo exhibit of portraits by emerging artist, Buddy Nestor, taking place at the White Rabbit Lounge in New York City from July 2 through August 3.  See below for more details.

Buddy Nestor is an abstract painter. Not too long ago, he struck a strange new chord with portraiture, turning the beautiful faces of female artists into grotesque, distorted creatures, their features uncomfortably recognizable within melting forms, slashes and swirls of Buddy’s abstraction. Belying Buddy’s intention of removing beauty, he has paradoxically enhanced it by use of pleasing shapes and muted colors. His distortions are indeed symbolic of the more difficult sides of our realities; in their beauty they make us look and think.

Samantha Levin: You started painting while you were in the armed forces, correct? What specifically inspired you to pick up the brush while out there?

Buddy Nestor: I started drawing daily when I was old enough to hold a pencil. I did a few paintings in high school art classes, and made a few for gifts in my early twenties, but that was about it. In 1997, during my stint in the Navy, I witnessed my wife give birth to our son Blake. That event made me want to have amazing things to teach him, so I had to up my game in anything that interested me in the past, like juggling, guitar, painting, sports…etc. During that time, I painted for five or six hours a day. It kept me from losing my mind. I had a much better understanding of the medium when I returned home six months later. Making art has been a constant in my life since then.

SL: Five to six hours a day is what all artists should be able to dedicate to their work. I know nothing about the armed forces, so I’m surprised you had the time to do that. Care to comment?

BN: On the aircraft carrier, we worked 12 hour shifts everyday. I was in the same metal room, with the same people, with airplanes being shot off with a catapult one level above my shop. It sounded like a bomb going off. When my shift ended, I’d break out my supplies, put on my headphones and escape inward.

I certainly do not get 6 hours of painting in everyday. Life is not that generous. I get it in whenever I can. Normally, I begin working when the family lays down for the night, when the distractions are minimized. On the weekends, I pack in as much studio time as can.


Portrait of Danielle Ezzo

SL: Your previous work has been very abstract. What kicked off the change?

BN: Representational art led me to drill down into total abstraction and experimentation with different mediums and materials. After a few years, I found that all of the artists that I was drawn to were representational artists. So, I decided to take the abstract techniques that I had developed and apply them into portraits. I began working from photographs. I borrow the values from the photographs to give each piece some dimension, but I treat each area of the head as a separate abstract piece. The resulting images allow the viewer to see them through their own psychological baggage. It’s really my feelings that are projected onto each subject, because I don’t know them very well. I’m attempting to lift the mask off each person and show what it really feels like to be a human, stuck to the Earth, while it floats around in space. There are short moments of satisfaction, but life is a rough ride for everyone.

SL: What are your artistic aspirations?

BN: Painting is my moving meditation. It keeps my life balanced. I work in a way that is fairly minimal and simple. I’ve purposefully created a style that is fun from start to finish. Viewers can easily see how I get my effects and hopefully it inspires some of the younger kids to start painting. I’ve certainly stood in awe of work by artists like Eric White and Alex Grey, but that type of work seems so overwhelmingly difficult it makes me want to quit. Having the opportunity lately, to show my work alongside my peers and artistic heroes is an honor. Ultimately, of course, I would love to be able to paint all day, every day.

SL: Who are some of your favorite artists? What about them influences you?

BN: The Surrealists sparked my interest in art. Magritte, Dali, Matta, and Tanguay most heavily influenced me from that realm. Francis Bacon made me pick up the brush and continues to be my heaviest influence to this day. Scott Cranmer is the most dedicated painter I know. Daily discussions with him help me fight off my TV laziness and keep me in the studio. Paul Romano-Due to his proficiency with any medium and seemingly endless vision. Others include Jenny Saville, Stephen Kasner, Dan Quintana, Jeremy Clark (Hush), Lucian Freud, Jeff Soto, Josh Keyes, Duchamp, Alex Pardee, Doze Green, Kuksi, Giacometti, Shawn Barber, Chet Zar, Oliver Vernon, Pollock, David Hochbaum, Peter Adamyan, Josh Graham, Chris Mars, Charlie Immer, Cam de Leon, JL Schnabel, Picasso, Chuck Close, Erin Endicott, Cliff Wallace, David Stoupakis, Esao Andrews, Joseph Albers, Travis Louie, Mathew Barney, Genevive Zacconi, Judy Chicago, Damon Soule, H.R. Giger, Nicole Boitos, Ekundayo, Christian Rex van Minnen, Katie Perdue, Carrie Ann Baade, JoKa, Eric White, Frank Hyder, John Kolbek, Dan Harding, Naoto Hattori, Dan Barry, Fred Harper, Peggy Wauters, Mathew Ritchie, Robert Williams, and Edith Lebeau. I love their work for very different reasons, but they are all equally inspiring.

SL: Got any videos of you juggling?

BN: There are no videos of me juggling.

SL: So sad.

**

The opening for Angelic Possession will be particularly wild!  Buddy has invited three additional Philly artists, Katie Perdue, Nicole Boitos and Scott Cranmer, to paint live.  Video artist Josh Graham, visual mastermind behind metal band Neurosis, and leader of band A Storm of Light has cooked up some mesmerizing visuals for the night.

Opening reception:

July 2, 7pm-10pm
White Rabbit Lounge
145 East Houston (btwn Forsyth and Eldridge)

A gallery of artwork for sale has been started here.  Sign up for our mailing list to receive updates quickest!


Portrait of Nicole Boitos



C.J. Stahl: From a Basement on a Hill by dezzoster
Anagnorisis is excited to be exhibiting C.J. Stahl’s latest body of work, From a Basement on a Hill, tomorrow! He’s generated interesting ‘case studies’, as he likes to call them, which dissest memory into physical, mental and emotional experiences. Stahl references and questions contemporary psychological theory to create insightful dialoge about this research. Often our minds pick and choose what we want and how we want to remember – a blur between the real and quasi-fantasy. It only makes sense that he blends and toggles between refined photographic imagery and painted gestures that marry into beautiful technical abstractions.
DE – So what’s your story?  and do you remember your first creative inclination?
CS – Well. I’m originally from central Texas, a small town named Taylor. It’s one of those places that people would describe as being a nice place to raise a family.
I don’t know if I can recall my first creative inclination. My Mom used to draw when I was young. There are still drawings of hers at my parents home, mostly of dark biker art, skeletons and things like that. She’d told me she drawn them for my Dad, who had always had a motorcycle and loved deathly looking pencil and ink drawings at that time.
My family responds really well to my work and have always been incredibly supportive. Sometimes my parents “get it”, about a particular work, and sometimes they don’t, but they are always great cheerleaders. My brother draws and paints as well, and we always have allot of really great dialogue about what either of us is working on at the moment.
As far as going to school to be a photographer or a painter, I’d have to say painter, although that’s only a half truth. I think I started painting my sophomore year, taking a watercolor class with the drawing/painting prof that I was convinced hated me at the time. It was a pretty inspiring experience, and was the first time I started hanging out in the studio late nights working till the early morning. It was great.
DE – How did you come to mixed media?
CS – I was brought to the idea of mixed media first by meeting the artist Noah Shem Klein, he had just finished his MFA at the Pennsylvania Academy of Fine Art in Philly and was covering the drawing and painting courses at Shippensburg while the full time prof was on sabbatical. I had an independent study course with him, and he’s the one who taught me how to be a real artist, in the sense of not just identifying yourself with you creative impulses but actually putting them into practice. He first introduced me to the idea of doing toner based transfers into acrylic medium, but of course let me figure it out on my own.
DE – What’s your process like?
CS – My process typically starts with just doing under paintings on blank supports. Often times I’m not even sure what imagery is going to go on them, but I like to develop a layered surface first and then the ideas start coming together. Next I’ll look through my files of photos I’ve taken. Recently, I’ve been photographing subjects with a bit more intention, planning out a body of work that I’ll be putting together. Once I have some options as far as photo imagery, I begin to decide which ones will be more central and then supporting imagery. Sometimes these images are collage and sometime transfer, either directly over the under painting or silver leaf/aluminum foil that I’ve laid down. Then, I just paint. I try to stay open to what an individual work needs so that I’m not trapped in an exact process, but that’s the gist of it.
DE – What is this most recent body of work about?
CS – The most recent body of work is portraits. Some of them are self portraits and others are not, but they are a reflection of, I guess what you could call, constants in my life, my people, myself. In the past year, at times, I’d felt like I lived in three different places at once, back home in south central Pennsylvania, New York, and with my fiance in Philadelphia. A large part of my time being in metropolitan areas, I became aware of a lack of my typical subjects, the natural environment, dead animal, etc. So after allot of “what am I going to take pictures of and paint??”, I realized that I can paint these people in my life.
DE – The images I’ve seen have a environmental, organic aesthetic. What’s behind that?
CS – Well, if you’ve ever been to the rural parts of south central PA, you may have noticed that there is not much going on; there’re great musicians, but few opportunities to catch a great show, great artists, but not much as far as museums or galleries, the list goes on and on. However, the natural landscape is at times staggeringly beautiful. After spending x amount of years there and the full opportunity to get down about the lack of liveliness, I began at some point really appreciating my natural surroundings. The winter there can be kinda depressing, but walk through an apple orchard full of gnarly, barren, Halloween looking fruit trees and it’s really pretty. Oh, and the dead animals on the sides of the road! I’ve looked very creepy at times hovering over road kill with a camera, while a line of traffic passes by, but it’s everywhere and always know where you are because of these kinds of things.
DE – What contemporary mixed media artist inspire you now?
CS – I’d have tho say that allot of my inspiration is drawn from my friends that work, not all of them doing mixed media. Sifting through the art periodicals over the years looking for something new and exciting has only taken me so far, but to sit and talk shop with one of my friends always makes me feel like working.
Aric Sites is a great painter from my area in PA that does some mixed media work. The body of work “Weight”, based on his poetic journal writings, that he’s now finishing oscillates beautifully in the approach to individual works.
Gordon Rabut from the Philly area does drawings on paper that juxtapose animals, and weird characters that look like soldiers from the Vietnam War. I’m always looking forward to seeing what he’s up to.
Last year I met David Hochbaum who’s work I’d been familiar with and highly appreciated, and he’s been a great insight to many aspects of the art world that I’d not had the opportunity to experience yet.
Um, Carlos Tarrats, I don’t know the guy, but he’s an awesome photographer from L.A. that has a really cool process of making physical photo filters out of plexiglass and shooting his strange organic models through them.
DE – Mixed media is only in the more recent decades been looked at serious, both in institutions and the marketplace. Do you feel this affects you work?
CS – I’m not sure. After going through the whole grad application process this past winter, I found that I was not accepted into an MFA program, all of which were in NY,  for the fall, but I’d like to give the institutions the benefit of the doubt and assume that it wasn’t because of my media. As far as marketplace, I don’t think I’ve had “collectors” buying my work yet, and I have allot of faith in the art appreciators/buyers to just simply respond to the work they see, and not just disregard it because they have a prejudice towards certain media, but we’ll see what happens in the future.
DE – On a similar note, I’ve find it hard to find truly compelling artists in the field. I was so excited when I came across your work. What do you think about what your peers are doing, and what type of feedback have you received for your work?
CS – Feedback has been really great. I think that when you share the habits of working in a studio with another person, especially those who are familiar with your work and you with theirs, there is an extreme amount of respect, support, and generosity that is extended by both parties. The hard work of criticism comes later when you are both able to open up about the other’s new work, but it’s a great experience and exchange. It’s what helps to keep us all going.


Rainbow Blight – New Work by Christian van Minnen by Binnorie


My Love For You, Oil on Canvas, 28 x 22”

Out of sublimely beautiful grotesque forms come super-clean rainbows, stars and hearts, reminiscent of Lucky Charms cereal and My Little Pony toys. In this new exhibit of Christian van Minnen’s work entitled “Rainbow Blight”, which opened at Bert Green Fine Arts on Wednesday, May 12th, he seems to have transported himself deeper into the Pop Surreal while staying firmly put in the Neo-Grotesque.

I’m not used to seeing imagery reminiscent of children’s toys (design remnants of 70s culture) in van Minnen’s work. His usual style is seemingly derivative of emotive oil paintings from our history’s master painters (Arcimboldo or Rembrandt to name a couple out of many). These aspects of his work still preside, but have been newly punctuated with a very modern twist.

If you’re on the west coast and can see this show, Bert Green Fine Arts is located at 102 West 5th Street in Los Angeles.  The show will run until June 26.

I had the chance to talk with van Minnen about his work, past and present, as well as ask him about his recent sabbatical in Mexico City:

Samantha Levin: These new works you’ve created have some surprising elements to them – things I’m not used to seeing often in your work, the Mickey Mouse hat in Abstract Figurative Series 2.3 being the only exception I know of. These new elements (stars, rainbows, hearts, etc.) are much more Pop Surreal than your earlier work, and contrast wildly with your usual nod to master oil paintings of eras past. What inspired this new direction?

Christian Rex van Minnen: That’s funny you mentioned my little pony and lucky charms; early 80s cartoons and advertising campaigns like these (I would also add care bears, rainbow bright, maybe he-man) are certainly a part of the headwaters of inspiration for this latest evolution, I think. Before leaving for mexico city and during my three months there i began scrapbooking these elements from litter and used newsweek, teen magazines, etc. These graphic elements, representing Abstractions of natural phenomenon, and hybridization of those natural phenomenon with human virtues, values, notions of divinity, etc, began to appeal to me as forms and ambiguous objects. Those things (shooting rainbows, stars, hearts, etc) are a certain kind of form, at once organic and ‘real’ and also capable of transcending their iterations throughout recent pop-cultural history. In my previous works it was through the chimerical juxtaposition of flora and fauna, representational or preternatural, that seemed to carve out that space to allow a certain tension and harmony between beauty and horror to exist. In thinking about that polarity, I began to think of expanding the scope of form and concept to include other elements from our 21st century lives. These graphic abstractions, usually overlooked or seen as a supporting cast for the product or message, when removed from their original context can provide a parallax view of the commonly understood pairs of opposites: beauty/horror, light/dark, love/hate, joy/fear, abstract/figurative. Black and white becomes more of an ambivalent Seussian gray goo.


Still Life 1.6, Oil on Canvas, 23.5 x 20”

SL: As a person who watched too many Saturday morning cartoons back in the 80s, I have to correct your spelling of Rainbow Brite (I make no apologies to anyone who clicks that link). Not sure why their wise marketing teams decided to spell it wrong, but it certainly stuck in my confused head all these years. But, yes, these new elements bring up almost a synesthetic response in me that tastes and smells of chewy candy, feels like smooth plastic and probably sounds a bit like the Brady Bunch theme song. Juxtaposed against your more lush and grotesque imagery, I experience a strong parallax shift and my visual language is altered. This is one of the things I enjoy most about visual art.

CvM: Oh, ‘brite’, good to know, sort of. In what circumstance would you use ‘nite’ or ‘lite’? Yeah, it reminds me of the smell of new toys, cigarette smoke and cat piss.

SL: Glad to provide some enlightenment to your day.  In an earlier interview that you did with My Love For You is a Stampede of Horses you said this about the symbolism in your work, “i have started to be more open to mixing representational images into compositions that are also inhabited by forms derived from abstraction. it makes the believability of the latter more accessible. … i am not being didactic in painting; there is no symbolism here.” It’s hard to think that this is still the case with Rainbow Blight. Perhaps it’s the title of the exhibition that’s steering my perception this way. Can you tell me a little more about your stream of consciousness style and how it worked with these new paintings? What has changed or grown?

CvM: Interesting question. I would still say that I am not utilizing symbolism. Ideally, the essence of these forms transcends any symbolic reading into them. That’s certainly true of the flora and fauna. Because the context of the advertisement that utilizes the stars and hearts and rainbows sort fills these ambiguous forms with meaning (for example flat butterflies and stars and flowers in a feminine hygiene ad gives those forms a certain aire of cleanliness, innocence and purity) an interesting thing occurs when they are born into something more ambiguous and horrible. The term ‘rainbow blight’ is something I thought of to describe the new works, not necessarily to define them. To anyone raised in 1980s visual culture, the play on “rainbow bright” is obvious. You bring up interesting questions though that I haven’t considered until now: are these stars, hearts, rainbows symbols or icons? Their meaning is ambiguous and transitory within the context of advertisement or entertainment but their essential meaning is more iconic, transcendent, abstract and perhaps suggestive of divinity within us and outside of us. Just throw a rainbow of that sausage, see what happens. Curious little things.

SL: While your paintings aren’t intended to make statements, do stories or ideas come to mind as the imagery evolves?

CvM: Sure, but only post-rationally, like coming up with a title. I get certain feelings, or I should say I will follow a certain feeling, usually an uncomfortable one. It’s kind of gross, and beautiful. The only message I can conclusively put out there is this notion of oneness of beauty and horror. Accepting this, I believe, gives one a certain grace in life. Not saying I’m enlightened or anything, but I do recognize it as an essential truth.


Pear With Stars, oil on canvas, 11 x 14″

SL: I’ve been using the term Neo-Grotesque frequently lately to describe the work of several artists including you, Dan Ouellette, Scott Holloway, Carrie Ann Baade and Kris Kuksi amongst others. How do you feel about this term? Is it too limiting or could it be helpful?

CvM: I’ve thought about that a lot since we began using the term. It definitely can be limiting owing to the fact that the definition of the term can be fuzzy and calcified, like a tooth collecting flocking under a couch. The first ‘grotesque’ artwork done in early roman ‘grottos’ was decorative and chimerical and i don’t think they would’ve used the term to describe their artworks, so not sure about the “neo” part either. If one understands grotesque as a synonymous with ‘chimerical’, then I would say that it’s an accurate description of my work. The problem with most contemporary usage of the term grotesque is that we link it with ‘disgusting’ or ‘gross.’ This happens to be very revealing about our contemporary notion of what is beautiful. While ‘chimerical’ is a more objective and descriptive term, grotesque in it’s subjectivity and history helps to understand the conceptual aspect of my works. Anyway, sure, call it neo grotesque.

SL: The scrapbooking you mentioned earlier – is that purely used as reference material or is there a bit of art-making going on there as well?

CvM: Not really an art object but I like to show it around. I will definitely keep doing it, but I will have my wife buy me the teen girl mags so I don’t get arrested or something.


Marketplace, oil on canvas, 24 x 36″

SL: Tell me about this long trip you and your wife made to Mexico City recently. I’ve heard that it is both an inspiring and dangerous place. What initially brought you there and what did you find during your stay?

CvM: We were in Mexico City for a little more than three months. I’ve known and worked with mexico city based artist Rodrigo Cifuentes for a while and he helped me to find a studio there, as well as showing me around the city, introducing me to a great group of artists there, and sharing his favorite al pastor tortas place with me. We lived in Coyoacan, a small little ‘colonia’ engulfed in the insanity that is Mexico city. My studio was also in coyoacan, not to far from Frida Kahlo‘s blue house and Trotskys house. It was on the fifth floor across the street from an overpass and would actually sway, not shake, but sway, making detail work an interesting challenge. The visual environment can be overwhelming there, but fertile nonetheless. It seemed that the graphic design culture was a bit more elemental and colorful and this just set me off. It was perfect, serendipitous timing for the evolution of my work. It’s definitely still with me.

SL: The trip sounds wonderful – an experience that every artist should have. I am a huge fan of Cifuentes’ work and am not surprised that you know him. His paintings are phenomenal – I hope to get the chance to see them in person some day. Did you do any kind of collaborative work or are you more comfortable with working on your own?

CvM: I am ok with collaboration if it works. I am doing some collaboration with My friend Ray Young Chu right now. We work really well together and laugh a lot which is rare.

SL: Thank you very much for the interview, Christian! I wish I could be out on the west coast to see your work up close!!  Good luck with the exhibit.



Dave Tree’s Silkscreening Party!! by dezzoster

We’re doing something new this time and would love for you to partake in the fun!  The Good Things in Life Never Die closes the first Friday of April and we’ve decided to throw a celebration of sorts. It’s spring again – time to get out of the winter routine, put on a breezy t-shirt, and frolic in the sun. Ok, ok.. I might be jumping the gun, but it’s time to switch it up a little. There’s no better way to celebrate the changing of the seasons then with a silk screening party (duh)! Bring you shirts, skirts, scarves, and wraps…. and for a measly $5, Dave Tree will turn your winter blues into a fashionable piece of affordable art.  If that doesn’t put a spring in your step, I don’t know what will…

The Good Things in Life Never Die – Closing Party

April 2, 2010 from 7-10p

145 e. Houston Street (btw. Forsyth & Eldridge)

NYC



Empirical: Works by Dana Bunker by dezzoster
June 30, 2009, 12:03 am
Filed under: Art Shows, White Rabbit | Tags: , , , ,

Dear Friends,

Anagnorisis is proud to present another art exhibition at the White Rabbit this Friday. Dana Bunker will be showing her ethereal drawings and watercolors. This is a fantastic show, and hope you will be able to make it out.

Artist Statement:
I use my drawings as a way of translating the world around me. As a means of understanding my experiences and associations through depiction. Although these explorations may not get me any closer to understanding the significance of the connections that I make, my process is a meditative one that I must go through in order to appreciate the natural world around me. My work is about in-between spaces, where all forms have potential to change and make new connections, and are forever in a state of becoming. This is an evolutionary process, where each piece must be considered along with those works that came before it in mind.

She grew up in Santa Cruz, California. In 2009 she graduated from Pratt, and now lives and works in Brooklyn, NY.

http://www.danabunker.com
Where: White Rabbit
145 E Houston St
New York, NY
When: July 3, 2009 from 7-10p

*DJ Justin Danger will be spinning for us all night!

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