ANNULUS CURATED BY COREY OBERLANDER AND LINDSEY STAPLETON JODIE MIM GOODNOUGH LEAH PIEPGRAS STEVEN PESTANA
spring/break spring/break art show, is a curator-driven art fair during the armory arts week founded in 2012 by ambre kelly and andrew gori. through its commitment to the discoveries of local to international curators, spring/break art show will again offer a unique destination for collectors, artists, galleries, critics, scene junkies & art enthusiasts during the city’s art fair week. forty curators will premiere new artworks created by over 150 artists, all selected around this year’s central art fair theme, transaction. by offering a “break” from the typical art fair model, spring/break art show aims to turn observation into interaction and reimagine the trade show platform as an opportune playground, instead, of the curator’s exhibition ideal.
curators corey oberlander and lindsey stapleton are the directors and curators for the fledgling contemporary art gallery, grin, located in providence, rhode island. founded in 2013, grin is a space for artists to develop and exhibit their work with a steady curatorial hand. their intent is to develop an intellectually demanding yet aesthetically pleasing program, focusing on emerging artists working across a variety of media. their hope is to stimulate fresh dialogue while continuing to promote the development of the creative community. their mission is to support the careers of underexposed artists with a devotion to craft and conceptual advancement.
moynihan station, 307 west 31 street, nyc springbreakartshow.com thetheyco.com email@example.com
60 valley street #3 providence, rhode island grinprovidence.com firstname.lastname@example.org 401 272 0796
curatorial statement annulus, a three-artist exhibition curated by corey oberlander and lindsey stapleton, presents a collection of work that denotes a transaction of manipulated information between academic and artist, with a focus on brain science research. artists jodie mim goodnough, leah piepgras and steven pestana use select scientific material to inform their creative practice. repeatedly drawing from the same source material, they re-investigate, re-articulate and re-purpose their personal mythos, resulting in a multifaceted and unique output. the resulting work embodies the original content crossed with the artists’ interpretation and intention, sparking a new dialogue between the work and the viewer. each piece functions as a single wave in a never-ending ripple effect, as part of the ongoing interpersonal transfer of information; the product of one cognitive transaction and the inception of another. both the original academic material and the artist’s work should be understood as the annulus — the resulting space between constant and steady waves of dialogue in the exchange of information. the pieces presented by steven pestana are part of his larger body of work, metaphysics. revisiting early modern scientific and hermetic imagery, metaphysics reappraises the history of how we understand our place in, and connection to, the universe. at each step, history, process, and concept feed back into one another; a complex system subtly evolving, leaving artifacts born of the inherent limitations of content, medium, and the artist’s own role in the process. craft-based techniques seamlessly meld with next generation technologies, uniting traditional wood and metalwork, casting, and analogue media alongside electronics, digital rendering, and fabrication.
the large format photographs by jodie mim goodnough are a product of her on-going interest in gender roles in psychiatry and mental illness. specifically, she is interested in the notion of a physiognomy of insanity as expressed through historical imagery of women in mental institutions. she came across a series of artistic studies by dr. paul-ferdinand gachet, who documented many of his female patients in states of discomfort and unrest. these drawings were used to create supposed case studies of the postures of the insane. however, the drawings are gestural and ambiguous, appearing instead to goodnough as dancing women. she worked closely with professional and amateur dancers, photographing them as they moved through the poses in the drawings, investigating the nature of gachet’s women. the resulting images attempt to convey uncertainty more than definition, as part of goodnough investigation of “dangerous emotions” through new manifestations of old classifications. leah piepgras is informed by brain science research: specifically stanley koren’s god-brain helmet, jill bolte-taylor’s book my stroke of insight, and the coastline paradox, ultimately extrapolating that we have the ability to see more than what is visible, if we know how to look. piepgras believes that the act of self-reflection is part of the primal urge to deeply understand our inner and outer surroundings. through drawing, sculpture and installation, she supplies the viewer with tools to deconstruct and reassess the relationship to the self, while examining a connection to a greater physical experience.
STEVEN PESTANA, GIORDANO BRUNO AT THE THRESHOLD OF THE QUATERNION BRASS, PINE, ACRYLIC, 24” X 104” X 6”, 2014
STEVEN PESTANA, OPUS NOVUM SENSORIUM, TIGER MAPLE, BAIZE, BRASS GLASS, ANTHRACITE COAL, GOLD, HANDMADE PAPER WITH COPPER LEAFING INSTALLATION APPROX. 104” X 104” X 96”, 2014A
about steven pestana if you could travel to the edge of the world, what would you see there? steven pestana is inspired by the steep latent void lurking just beneath the smooth, glossy surface of common knowledge. this is work at the limits, from the limits, and about the limits — locating where they break down and surpassing them. pestana’s sculptures, installations, and mixed media artwork reflect two contrasting worlds: a thoroughly alien landscape of the inner life, and the visual language of authority in the public realm. exploring the intersections of art, science, technology and their shared origins in metaphysical thinking, pestana makes big-picture connections — sometimes arbitrary, often fanciful — between disparate realms of everyday life and contemporary social issues. voraciously cross-disciplinary in both form and content, pestana unites electronics, digital rendering and fabrication alongside traditional carpentry and metalwork, casting, and analogue media. expressive, tactile, and alluring, these mysterious works transform both manmade and natural materials into multilayered immersive experiences. with imagery evocative of archaic mysticism, classical representationalism, and a new gothic sublime, steven pestana’s work extends an invitation to revisit our everyday understanding, seen anew, resonant with an otherworldly visual poetry. steven pestana was raised in south florida before obtaining a ba in art history from nyu and his mfa from risd. he has recently completed residencies at both the vermont studio center, and the santa fe art institute. stevenpestana.com
STEVEN PESTANA, OPUS NOVUM SENSORIUM, TIGER MAPLE, BAIZE, BRASS GLASS, ANTHRACITE COAL, GOLD, HANDMADE PAPER WITH COPPER LEAFING INSTALLATION APPROX. 104” X 104” X 96”, 2014
JODIE MIM GOODNOUGH FIGURE 3C, ARCHIVAL INKJET PRINT FROM 4X5 NEGATIVE, 40” X 50”, 2014
about jodie mim goodnough jodie mim goodnough is a providence, rhode island-based artist who uses photography, video, performance and sculpture to examine the various coping strategies we employ to find comfort in an often uncomfortable world, from religious rituals to pharmaceuticals and everything in between. she attended the photojournalism program at
JODIE MIM GOODNOUGH FIGURE 3B, ARCHIVAL INKJET PRINT FROM 4X5 NEGATIVE, 40” X 50”, 2014
the salt institute for documentary studies in portland, maine and received her mfa from the school of the museum of fine arts, boston in may 2013. her work has been shown in galleries nationally including at the midwest center for photography and the william morris hunt library of the museum of fine arts, boston. jodiemim.com
LEAH PIEPGRAS, LIMEN AND ALL THE ANSWERS FOAM, EPOXY RESIN, ALUMINUM, MOTOR, ROPE, MYLAR, GLUE, ALUMINUM LEAF 144” X 24” X 24”, 2014
LEAH PIEPGRAS CLOUD MANTLE / I AM DARKNESS INSIDE FOAM, WOOD, EPOXY RESIN, 30” X 22” X 19” 2014
LEAH PIEPGRAS CLOUD MANTLE/CLOUD VISION FOAM, WOOD, EPOXY RESIN, 30” X 22” X 19” 2014
I SEE MYSELF WALKING IN AN OPEN FIELD I THINK I AM BEAUTIFUL, I AM WHOLE MY IMAGE COMES CLOSER AND CLOSER TO ME AND FINALLY I AM WITHIN MY OWN BODY I CAN SEE NOTHING, NOTHING AT ALL I AM BLACKNESS INSIDE, I AM DARKNESS AND UNKNOWING MY BONES ARE UNCERTAIN MY BODY KEEPS WALKING AND MY MIND STANDS STILL JUST WATCHING I PASS MYSELF BY I PASS MYSELF BY
LEAH PIEPGRAS, LIMBIC-PSYCHO PHYSIOLOGIC BRIDGE, BRONZE 5.5” X 8” X 9.5”, 2014
about leah piepgras several of years ago i read a rant by roberta smith (ny times, 12-23-07) about the use of the word “practice” in describing what artists do. i carry the article around in my purse still to this day. what she said was that art is never a practice, artists are never practicing for a newer, better piece of work. every piece should be made in real life, in real time. life is never a practice for something else. it is messy and imperfect and wonderful because of it. it is in those moments of uncertainty that beauty unfolds and reveals its self. there is no formula for perfection. i try and make work in this way, take risks and not settle for good enough or a formula. i try also to really see at all times and hold on to the beautiful things that happen. leah piepgras received her mfa from carnegie mellon university in 1997, and has since exhibited and performed throughout the united states. she has work in the permanent collection of wilmer hale, new england biolab and fidelity investments (among others), and has been featured in beautiful decay, the new york times and the boston globe. leahpiepgras.com
images courtesy grin, steven pestana, and jodie goodnough all content copyright grin 2015