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Rabble-Rousing Acts Jeremy G Bell . com • Flavia Berindoague • Aida Pinhas Ronit Levin Delgado • Tom Eshchar • April Zanne Johnson Jamie Levine • Graham Preston • Chen Serfaty • Lior Shvil Aneta Wegrzyn •Alizarin Weissberg • Tatiana Zank

March 29 - May 4, 2013


73 C Pine Street Montclair, NJ 07042 973.746.8737 73seegallery.com


73 See gallery is proud to present 13 individual rabble-rousing explorations and transformations of ubiquitous iconography. Juxtaposition’s between the grotesque and conceptual beauty to reveal and expand iconic associations.

Artists: Jeremy G Bell . com • Flavia Berindoague • Aida Pinhas Ronit Levin Delgado • Tom Eshchar • April Zanne Johnson Jamie Levine • Graham Preston • Chen Serfaty • Lior Shvil Aneta Wegrzyn •Alizarin Weissberg • Tatiana Zank

Curated by Ronit Levin Delgado and Jeremy G Bell.com Montclair State University Master of Fine Art Students selected works from fellow students & peers. Advisement by Mary Z.

Please contact the Gallery by phone at 973.746.8737 or email gallery@73seegallery.com with yor inquiries.


Rabble-Rousing Acts


A Lost Diamond of the Patriarchial Soceity Charcoal, acrylic, sharpie, polyurethane, glitter, scented wax on wood 31x31x3in 2013 $2500


Jeremey G Bell.com

I Jeremy Gary Bell was born to Kelly Glover and Gary Bell on

September 29th 1985. Out of the entire existence of human history one could say I was born relatively late in the game. It is now 2012 and I am an adult. What have I learned and more importantly, what does it all mean. With each experience I have gained knowledge and learned many lessons however, even with all of the “bought lessons�, I would be a fool to think I knew everything. Yes there are some things I can say I know for certain; 1+1=2. Things of this nature are universal truths. But other things such as my name were told to me. How can one be for certain that any knowledge gained from man is indeed true? Anything in the past can never be known for certain, it is merely believed.


Homage to Missing Children mixed media 8’ x 2’ 2013 $4,000


Flavia Berindoague

The occurrence of violence in our everyday life leads me to think on

possibilities and strategies of art to represent tragedies and translate the inhuman, violent and enlargement of fear of this era. There are myriad forms of violence, but what interest to me is the way that these elements become theme, literary form, and simultaneously, ways to question reality through art. In this way, I become a collector of stories. As if searching through the debris of dreams or nightmares, I try to pick up the pieces of a story, rescuing it from oblivion to reveal the obscure side of the humanity, where shock, trauma, and forgetting are part of everyday life, and malignancy becomes banal. My interest is not simply the act of remembrance, but rather the memory of forgetfulness.

Using public archives, I search for information about missing people in

Brazil. The mysterious circumstances of disappearance, the traumas inflicted on the families, and the uncertainty of the facts launch me into an imaginary world. Like a detective gathering the pieces of a puzzle, I want to know what happened to the girl who wore a red dress and disappeared after she left home to buy bread. Where was the boy who was last seen riding a bicycle? What happened to the girl who was playing in front of her house and never returned to it? The only answers I find are in my imagination. I begin creating stories because we are not certain of anything. There is no proof. The outcomes are uncertain and I am “forced� to use fiction. The only truths are the disappearances. In this way, I try to read the traces of identity captured in the moment before the disappearance. The stories, objects, and installations, can represent this moment of absence, transformed into mute testimonies of those who were taken away.

Mothers, fathers, aunts, teachers, and neighbors are all invited to

participate in this endless compass of voices, words, objects and images. By opening their public and private archives, their testimonies help me collect traces in the city, to invent scenarios, to create puzzles with words and events, and to write in the form of fragments. I try to recover their memories, and to narrate their untold histories.


The Spring Hand cut collage 7.25” X 11.5” 2013 $300


Aida Pinhas

Aida was born in Istanbul, Turkey, and moved to Israel when she was 18.

She received her Bachelors degree in Design, from Bezalel Academy of Art and Design in Jerusalem, Israel. She studied in the Visual Communications department where different disciplines were meshed, such as, typography, illustration, interactive design, video making and advertising. She brought these manifold visual sensibilities and her Mediterranean roots to New York in 2010 and started pursuing her MFA in Illustration at the Fashion Institute of Technology in NYC, and will graduate in 2013. The interaction between typography and illustration is one of the main things that she likes exploring in her works. She has worked in the graphic design firm, Studio Orit Jeger in Israel, and interned for the graphic design department of the architecture firm SOM (Skidmore, Owings & Merrill) in San Francisco. She participated in Pete’s Mini Zine Fest in July, 2012. She currently freelances as an illustrator and a graphic designer. Having grown up on her mother’s paintings was a great inspiration for her, and a checkpoint on her path to a career in visual arts. She worked with children of ages 3-7 teaching arts & crafts. She later on, combined this affective experience with volunteering for visually impaired citizens in Israel; accompanying them and guiding them through written sources. As an artist whose work is solely based on visuals, this served as an illuminating experience for her to see the other side of the coin of reality.


The Kissing Wall lipsticks on canvas 10’ x 8’ 2012 $3000


Ronit Levin Delgado

Ronit Levin Delgado (born in Tel-Aviv, Israel) lives and studies Masters

in Fine Art at Montclair State University in New Jersey, as a Fulbright scholar. Levin Delgado graduated with honors from Bezalel Academy of Art and Design in Jerusalem in 2008 with a Bachelor of Fine Art. While at Bezalel Academy, she was selected for the Exchange Program for Merit Students to study at Carnegie Mellon College of Art, Pittsburgh, PA. Levin Delgado has won many honors and awards bestowed on her, including a 2011 Fulbright scholarship award, and a Bezalel Academy scholarship, an award for excellence. Levin Delgado’s work has been recently shown in New York City at Pratt Gallery and NYC Theater. She has participated in many group exhibitions in Israel and the US, to include Guttman Museum, Ramle Station for Contemporary Art and Hertzelilinblum Museum. Levin Delgado was also a participant in the documentary film on Israeli painters, “Discussions in Israeli Art with David Vakshtain”, in 2011. Most recently Levin Delgado has been selected to be the Assisetant Set Deisgner for “ZINNIAS: The Life Of Clementine Hunter”, Director: Robert Wilson at Alexander Kasser Theater, NJ.


Mika Photography 20” x 16” 2012 $350


Tom Eshchar Most of what I do is accidental. I’m not a great beleiver of trying hard, or over analyzing. I grew up in a very liberal inviorment. A peaceful, tiny, socialist community. I’m the first born in a big family. My father was very artistic growing up, but than became an engineer. My mother was and is the kindest person I know. I was always surounded by artistic people, but almost never considerd myself as one. I did write poems, painted, played clarinet, and more, but always thought of it as fun, not art. for me, most of what I do is just another way to communicate with the world, with other people. This sreies is an on going journy. It contains a very large number of poeple, sessions, images. Until now, more than 70 non pro models took part in it, each producing att least 10 different good images. The technique is farely simple: I choose (either by myself or with my models) a number of images and project them on a background and their skin. In such way, the subject becomes part of the image, and “blends” in to it. The greatness of this project is in several aspects:

First, it allows me to explore mre than just photography per se. My

interaction with strangers has become to me more important than the actual outcome.

Second, The variety is infinite. I can basically take any graphical

component and turn it to something new.

Third, This project enables me to help other people in two major ways:

-Get to feel better about themselvs. I found that the sessions are very theraputic. -become more open to the world, having put themselves to such an exposed position.

Forth, it showed me how easy it is to get poeple to get out of their

comfort zone, me included.


Phthalo I, 2, 3, 4 oil on plexiglass 11�x11� each 2013 $500.00 $1500 for all 4 paintings


April Zanne Johnson

I have been inspired by the simple act of lying in the grass and looking

at the tiny world that exists within it, only to wish I could see more detail. The first naturalist who observed organisms in a microscope looked for parallels in the larger world. The electron microscope brought our visual perspective even further, exposing the intricacies of an invisible realm. The possibility exists that our world is no more than a nanoscopic element contained in a megalithic organism. What technology could ever exist to see such a megalithic form in whole? I enjoy fantasizing about these ideas, and my new work is developing rapidly from these thoughts.

My recent paintings are portals into the possibilities that lie beyond our

present visual technology. They meld factual and fictitious organic imagery. Although my visual research is based in science, the forms I create enjoy living in an imaginative world of infinite possibility. The work is unhindered by concrete thought. All rules are destined to change. Grounds shift, uneffected by gravity. Foreground and background may alternate or become liquid.

The tool use, a mix of found objects and traditional paint brushes,

possess characteristics that encourage specific shapes or outcomes by working on smooth, transparent surfaces. I intend a balance between improvised impulses and premeditated techniques. Familiar motifs, linear forms, expressionist brush marks, and other painterly stokes are combined into a dense and energetic whole. I am also interested in color and the effects of light. The work is made on a clear surface to allow for more light to enter and surround the imagery. The smooth surfaces also allow greater fluidity when necessary. I find comfort working between dense horror vacui as well as more uninhabited spaces. I find that a dense and highly decorative surface is far more interesting to interpret.


Hominidae Giraffa camelopardalis mixed media: wood, papier-mâché, oil paint, silicone. (base) –wood, mirrors 2012 $12,500


Jamie Levine

The classical Greek image of the mythological Chimera was that of a monstrous,

female, fire-breathing creature: an incongruous mixture of the head of a lion, the body of a goat, and the tail of a dragon. Humankind has imagined and portrayed fantastical creatures since the beginning of time. But today this ancient myth exists in biotechnologically engineered forms. The current scientific definition of ‘chimera’ is any organism composed of cells derived from at least two genetically different zygotes. Translation: featherless chickens (bred for ease of production); mice with human brain cells; hybridized creatures like the geep (sheep+goat), liger (lion+tiger), beefalo (buffalo+cow), and donkra (donkey+zebra). Most recently, the world’s first primate chimeras have emerged, created from several different species of monkey embryos. Might not human/animal chimeras be next?

My current body of work is inspired by these modern-day chimeras, however I pick up

where science leaves off, fusing the animal with the human. Details and craftsmanship are key elements in my work, as I seek to create seamless, lifelike forms. I have cast, for example, the bodies of a raw chicken and a human doll baby in resin, taking pains to unify the seemingly ‘separate’ elements into plausible whole. Often, my creatures sport weird, disturbing, or unexpectedly sexy body parts. I have mixed the body of a giraffe with the cast head of a female mannequin, her face “made up” with false eyelashes and her mouth filled with acrylic casts of my own teeth. If viewers look into the mirrored tiles that cover the plinth on which she stands, they will see a reflection of the human vagina I placed on her underbelly. Overall, my hybrid creatures are vulnerable, whimsical, and can act as lighting rods for the viewer’s catharsis. Although grotesque, they appear utterly real. Questions seem to issue from their parted lips: “If I could talk, what would I say?” “Are you, as humans, ready to listen?”

Working for so many years with hybrid forms has helped me see myself as a mixture:

mother/professional artist; instinctive animal/wise woman; healer/sufferer. I’ve learned a great deal about humanity in adopting the part-beast as my own. This work has taught me that to be fully human is a process, a verb, a goal towards which we must all aspire rather than a static state of entitlement. Animals, driven by instinct, teach us to trust our inner natures.


Mad as Softness acrylic on canvas 54” x 92” $6000


Graham Preston

I am a painter who strives to evoke an array of emotional responses from

the viewer through the layering of symbolic imagery, deriving from historical and personal events, in order to describe and share my concerns and fascinations with the contemporary, information-ally overloaded, fractured form of the human condition through the suggestion of non-linear narratives. It seems as the level of information we are exposed to increases, our personal convictions waver toward a more passive acceptance of our individual roles in life, leaving us more or less stagnated, fractured and feeling less empowered as a societal whole. Through the use of pastiche, formal qualities of representation, and varying the approach and application of paint, I have been attempting to create a language that transcends the autobiographical content of which these images derive from in order to have a compassionate, sincere, conversation with the viewer that explores all facets of human emotion. My paintings have been said to hold the narrative quality of a dream, recollection, or memory. I have heard them being compared to the works of post -modern film makers such as Wes Anderson and David Lynch.I feel that to be a painter is to be a writer, a speaker of tongues, a person who attempts to translate the days. I attempt to use imagery to describe moments or scenes that discuss what it means to be alive where language driven narratives fail. Living within an age of ancient diffused mythologies and rapid scientific and technological development, I have begun to set out to try and bring a level of importance to the disbanded remains of the past that remain prevalent to our recollections but have been proved to be irrelevant or orphaned in the face of our current realities. My goal is to create art objects that are crafted and approached by the viewer as a contemporary form of Altar Piece.” 


Resuscitation 1/1 Print, Drawing 16* x 16� 2013 $700


Chen Serfaty

Chen’s works question the human function in the western society, She

chooses known and public spaces as well as objects and materials, and brings her inner conflicts into new surrealist and senseless situations, Combining small and minimalistic body movements,Chen creates a new space devoid of logic, while still harmonious. Paralleling her false conceptions regarding her existence with the ability to reconcile herself with the illusion.


Lips mixed media 48’’ x 24’ 2010

Kiss you my love (cherry Bomb) digital photo, 2010 price for both $3500


Lior Shvil

Lior Shvil was born in Tel Aviv, Israel and lives and works in New York.

In 2010 he received his M.F.A from Columbia University. He has a Bachelor’s degree in Architecture, and has completed a Post Graduate program in Art and Design from the Bezalel Academy, Jerusalem. Shvil has had solo exhibitions at, Andrea Rosen Gallery, NY, USA (2011), Recess, NY, USA (2010), Herzliya Museum of Art, Herzelia, Israel (2008); The Heder Gallery, Tel- Aviv, Israel (2005) and Hamidrasha Gallery, Beit Berl, Israel (2004).

Shvil has been included in many shows; at the Sculpture Center, NY;

Socrates Sculpture Park, NY and in an exhibition dedicated to performance curated by Rirkrit Tiravanija especially for the 2010 Miami Art Basel, The 7th International Istanbul Biennial and the the NGBK Gallery in Berlin Germany. Shvil won the The Lotos foundation prize for Art and Science, New York City. Samuel Givon Prize for Young Artist, awarded by the The Tel Aviv Museum of Art, as well as the Israel - America Fund for Culture, Israel and got the Artis Grant, New York.


Smoke 3 panels: wooden board, resin, oil paintng 24� x 36� Inquire if Interested


Aneta Wegrzyn

I have a certain obsession that drives me and my artistic practice. I am

compelled to pursue the transient, to glimpse the dynamic and unstable. In my recent works I am interested in micro-flows and little happenings in daily life that the mind would normally stabilize and flush away: the small, the marginal, the in-between. Nothing is stable. Everything is an event and relational. I paint events that do not belong to a specific place, have no context or origins, and are caused by anybody and everybody. It can be as simple as cigarette smoke, the splash in a puddle, the circles spreading on the water. Despite their simplicity, none of these little happenings will be exactly the same, and will change in each moment according to the rules of nature and passing time. I explore the impossibility of capturing them. I find that painting, with its long history of representation, is the best medium for this subject. In order to find a way to represent the transient, I study techniques from the Old Masters, and continue to search for new tools and mediums. My process of painting often involves repetition and many layers, and becomes a ritual or meditation.


Frozen digital art, 16”x20” Model: Frozen May | Styling: Ofek.Muse.Art | Studio: Noam Dinar 2013 $850


Alizarin Weissberg

Alizarin, named after the color “Alizarin Crimson”, is an interactive

art-director. She was born in the former USSR, grew up in Israel, travelled the far east, and now residing in New York. Her volume of work combines the influences of classic art education, with the use of new-media tools. From video, through photo-manipulation, to artistic events production.

In her work, Alizarin is approaching global, collective issues from a

personal and sincere point of view. Her aim is to create artworks that tell a story and trigger the viewer to become a participant.

Alizarin took part in the documentary TV show “Connected” on the Israeli

Television, showcased her interactive art on some of Tel Aviv’s most iconic venues (such as the Block club, the Maxim, The Bar Kayma), and hosted extraordinary art events in the Glasshouse gallery in Brooklyn. You can view her commercial works at www.alizarinz.com

Frozen. Shy, delicate and unattainable; but also a seductive wizard of

words. A portrait that catches more than just a person, but a process of personal growth, or perhaps decay?

In this piece, the classic tale of “Snow White” was chosen to represent

the acquisition of adulthood. However, in this fairy tale, the protagonist (Snow White) and the antagonist (the evil queen) are the same person. The meeting between the two personas brings up the conflict of adolescence; it asks whether should one choose the comfort of staying an innocent infant, or is it time to take the leap and handle the disillusionment of maturity.


Untitled acrylic on canvas 24” x 36” 2012 Inquire If Interested


Tatiana Zank

My painting process concentrates on realistic portraits & figurative

subjects because I take especial interest in human expressions and emotions. They are the powerful driving force behind our actions, and often emotions are the direct connection between the cognition and the behavior. I believe that our early experiences shape our personalities, influence our relationships, define our emotions, and determine our self-concept.

My latest body of work “Black & White Memories� is influenced by the

black & white photographs that reflect on my past. Exploring my own emotional world is the focal point of the new artwork. Painting in layers allows me to portray the complexity of the human nature and the relationship between the conscious and the unconscious.

In my paintings I tend to employ a hidden narrative without making it

obvious to a viewer. My hope is that, by looking at my paintings, viewers will be able to enter a different world behind the canvas, which is unique to each viewer due to the differences in our perception.


fine Art

& art reproductions 73 See Gallery invites you to stop by the gallery or visit us online. We offer original art for the serious collector and the highest quality limited edition fine art reproductions on museum archival paper or canvas to enhance your home or business environment. We are expanding our representation of artists and as our collection grows so should the frequency of your visits. we look forward to seeing you soon

Golden King, Mary Z, mixed media on wood, 2010, tribute

73 Pine Street, Suite C Montclair, NJ 07042 gallery@73seegallery.com 973-746-8737 www.73seegallery.com u Hours: Tuesday Thru Sunday Noon til 6 or by appointment. Closed Mondays.


73 C Pine Street Montclair, NJ 07042 Catalog 5 Š 2013

Rabble-Rousing Acts  
Rabble-Rousing Acts  

Art Exhibit catalog

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