Word: Catalogue

Foreword:

By Incorporating text and language into art, artists not only challenge traditional norms and perceptions but also foster a dialogue that transcends boundaries.

The interplay between text and image in modern art is a fascinating evolution. René Magritte's 1929 painting "The Treachery of Images," which presents an image of a pipe with the statement "Ceci n'est pas une pipe" (This is not a pipe) is an intriguing example.

At first glance, it seems contradictory.

However, Magritte's incorporation of text challenges the viewer's perception and raises questions about representation and reality.

Barbara Kruger, an American conceptual artist, is another seminal figure who leveraged the potency of language in art. Her works, which often combine black-and-white photographs with declarative captions, serve as critiques of society, culture, and power.

One of her most famous works, "Your body is a battleground," became an iconic piece in the feminist movement. The simplicity of the text, coupled with the imagery, delivers a potent message about the societal challenges faced by women. Kruger's pieces not only merge the visual and textual elements but also instigate critical thought about social issues.

Contemporary artist Jenny Holzer introduced an entirely new dimension to the concept of textual art. Her "projections" involve large-scale, public displays of illuminated text. These messages, sometimes unsettling and sometimes comforting, serve to both illuminate the physical spaces they occupy and challenge the cultural spaces of the viewer's mind. Her "Truisms," short declarative sentences, make powerful statements about society, politics, and personal truths.

Street art, which became prominent in the late 20th century, often uses language to communicate political or social messages.

Artists like Banksy and Shepard Fairey have incorporated text into their work to emphasize the themes they address. Whether it's Banksy's satirical stencils or Fairey's "OBEY" campaign, language plays a crucial role in delivering the message, making it resonate with the audience instantly.

Art and language are both primary tools of human expression. When they combine, they create a force that can change perceptions, challenge the status quo, and foster dialogues.

In an ever-evolving world, where cultures merge, and dialogues are more critical than ever, art that incorporates language serves as a bridge, inviting all to a conversation that might shape the future.

The following eleven artists continue the genre-bending tradition of incorporating language in art.

Each artist approaches their work in a unique manner utilizing various media to achieve their aims. Gallery 44 is pleased to present Irene Clouthier, Genie Ghim, Olivia Guarnieri, Erin Hall, Barry Jones, P D Klein, Marilyn Mitchell, Hanlin Mu, Kirsten Rae Simonsen, Sarah Stolar and Enne Tesse. All of the artists reside in different areas of the United States from Hawaii to New York.

Some artists are emerging while others are more established. Either way, collectively, they present an intriguing inquiry into text art today.

Irene Clouthier presents two wall sculpture works in this exhibition.

Her first work entitled “Happiness Key” is a sculptural form of a key created out of PVC, known for its remarkable durability and resilience, this piece symbolizes the enduring nature of human pursuit for happiness. The key, often seen as a tool to unlock mysteries and treasures, holds within its form a hollowed-out rendition of the word 'happiness.'

The viewer is urged to contemplate the profound question: What truly unlocks our happiness? Is it material, emotional, or perhaps a culmination of many elements?

The second work is from the evocative “Opposites” series. Clouthier continues her exploration of dichotomies and the intertwining of contrasts. This intriguing piece seamlessly amalgamates the words 'give' and 'take'—two actions that define much of our interpersonal relationships and our transactions with the world around us. Once again crafted from enduring PVC, this sculpture is a testament to the delicate balance of giving and taking, suggesting that there exists a symbiotic relationship between the two. In the same vein, the merging of these words signifies that in the act of giving, we often receive, and in taking, we might be giving a part of ourselves in return. It's a cyclical dance of human emotions and actions, brilliantly encapsulated in this thought-provoking work.

She writes, “I use plastic in my work as the material that promises the ephemeral paradise, the disposable happiness, plastic as the passage to the empty and uncertain future, to disposable perfection and artificial life; to simulate stories as a reflection of my memories as a kid, to enact fantasies, as a statement about the bubble wrap society I live in, the disposable culture, the loss of sensibility and the embrace of plastics as the cool material of our emptiness.

My father had a plastic factory that made strawberries baskets, kitchen plastic bags and clear vegetable bags I grew up going to that factory on the weekends in Culiacan, Mexico.

I grew up seeing and playing with the drippings of plastic and the mix of colors of the melting residues.”

Happiness Key 16.5” x 35” x 1” Painted PVC and metal lining 2012 BUY

Give / Take from the Opposites series 14.7” x 30” x .5” Color PVC 2019 BUY

Artist Genie Ghim writes, “Drawing from my exposure to different art forms and genres, the dialogue created with various mediums has evolved into a narrative of vibrant colors, vivid silhouettes and clear lines that define the ambiguity of cultural synthesis, embodying a harmonious co-existence of tradition and innovation.

My artistic practice serves as a conduit for information, allowing me to share my encounters, both personal and collective. By sharing these stories through my art, my intention is to spark conversations, challenge preconceptions, and celebrate human connection.”

Ghim presents three paintings in this exhibition, each depicting words in various formations.

The first work, entitled, “Make More Art,” is painted in iridescent pink and gold and depicts the words, MOCK, MAKE and MORE. Here, the artist explores the nuanced journey of an artist, where the process of creation is fraught with doubt (mock), the resolute will to create (make), and the insatiable desire to constantly evolve and produce (more). As she eloquently puts it, “the intentional acts of making, narrating, and evoking are requisites in the process of creating visual communication.”

This piece is a heartening nod to every creator’s journey, celebrating the complexity, vulnerability, and unyielding spirit of artistic endeavor.

Ghim’s second work is aptly titled “Critique,” delves into the psychological labyrinth of the artist’s mind. Spotlighting the phrase “Analysis Paralysis,” the painting speaks to the all-too-familiar state many experience when trapped in a vortex of overthinking. This piece resonates with any observer who has felt ensnared by their own thoughts, stifled by the weight of their own scrutiny. Through its vivid depiction, the artist prompts viewers to acknowledge this cognitive whirlwind, perhaps inviting them to free themselves from its chains.

“Look Into it,” features the enigmatic words “Back Story.” This piece beckons viewers to dive beneath the surface, to not just see, but truly perceive.

It serves as a poignant reminder that there is often more than meets the eye, a layered tapestry of history, context, and emotion that lies waiting for those willing to look deeper.

By highlighting the words "Back Story," the artist implores the viewer to seek the profound narratives hidden behind the most unassuming facades, urging a journey of discovery, understanding, and empathy.

Make New Art 16 x 20 x 1.5 “ Acrylic on Canvas 2023 BUY

Critique 36 x 28 x 3/4 IN Acrylic and Twine on Canvas 2022 BUY

Look Into It 16 x 20 x 1.5 IN Acrylic on Canvas 2023 BUY

In Olivia Guarnieri's evocative wall sculpture, viewers are presented with a striking piece entitled "A guy with four black spots thinks about nothing, a hill thinks about a guy with four black spots, [a stick]." This mesmerizing artwork offers an unconventional fusion of mathematics and art, wherein algebraic symbols transmute into a three-dimensional visual lexicon.

Constructed predominantly from rudimentary materials like chipboard, cardboard, wood, and cut paper, Guarnieri's sculpture emanates an organic simplicity. Yet, this simplicity is misleading, as the intricacies of her work lie in the seamless incorporation of familiar materials to craft abstract visual “sentences.”

These constructions are intriguingly dichotomous, existing both as linguistic expressions and visual forms.

Guarnieri elaborates on her distinctive technique, emphasizing her intent to craft visual narratives that borrow from the foundations of grammar and typography.

Yet, rather than spelling out clear messages, she molds these symbols into non-verbal entities. Her creations speak in a cryptic, almost minimalist dialect, a design choice aimed at enveloping qualities of mystery, precision, and ambiguity.

By consciously adopting such a restrained artistic language, Guarnieri heightens the sensations of enigma, specificity, and unpredictability. She believes that by constricting her medium and presenting the viewer with limited information, the emotional and cognitive impact of her work is amplified.

In essence, Guarnieri's artwork invites observers into a realm where the familiar becomes unfamiliar, where everyday materials converse in abstract tongues, and where art challenges viewers to find meaning in both the evident and the concealed.

A guy with four black spots thinks about nothing, a hill thinks about a guy with four black spots, [a stick] 18" x 7" x 1" Chipboard, cardboard, wood, cut paper, stick 2023 BUY

Erin Hall unveils a trio of powerful silkscreen prints, each presenting poignant figurative silhouettes inspired by the tumultuous events surrounding the January 6th, 2021 assault on the US Capitol. These artworks underscore the lasting impact of media representation and the power of collective rhetoric during pivotal historical moments.

The first piece prominently showcases the words "Whose House," while the third resonates with the declaration "Our House."

These potent phrases echo the haunting chorus exchange "whose house? our house!"—a rallying cry fervently chanted by the participants during the incident.

By immortalizing these words, Hall captures the fervor and sentiment of the crowd, reminding viewers of the deep divisions and impassioned beliefs that marked that day.

The intervening print sheds light on other slogans that fueled the fervor of the mob. With the prominent display of the phrase "stop the steal," Hall vividly encapsulates the driving force behind the rioters' actions and the misinformation that amplified their collective angst.

Through her works, Erin Hall invites a reflective journey into the heart of a defining moment in contemporary history, using the stark contrasts of silkscreen to emphasize the tensions, beliefs, and narratives of that fateful day.

Whose House framed 19 x 23 .

Silkscreen stencil on arches archival paper 2021

BUY

The Big Lie framed 11 x 15 Silkscreen stencil on on Rives BFK 2021 BUY

Our House framed 11 x 15 Silkscreen stencil on Rives BFK 2021 BUY

Barry Jones, a visionary in the realm of video art, introduces a triad of evocative video works "Remix," "News Break," and "Seven Blunders of the World." These artworks are rendered with a minimalist aesthetic, solely using text in stark black and white, emphasizing the potency of the words and their inherent narratives.

"Remix - Harjo x Rich x Gibson" marks the inauguration of a series where Jones innovatively interweaves lines from various poets, crafting an entirely novel poetic expression. This endeavor springs from Jones' dual reverence for traditional poetic art forms and the contemporary practice of sampling in hip-hop. The resulting creation is a beautiful amalgamation.

"Newsbreak - 10 Rules of Conduct" embarks on a profound commentary on socio-political narratives and the pervasive power of media in shaping these tales. This piece takes the guiding principles crafted for the pivotal Nashville Lunch Counter sit-ins of 1960 and subjects them to digital manipulation.

Employing a bespoke application to introduce glitches into the text, Jones creates a rapid onslaught of fragmented information. This bombardment challenges viewers to reflect on the dual role of media and technology in the digital epoch, prompting a discerning examination of their influence and responsibilities.

Lastly, "Texts: Seven Blunders of the World" pays homage to the wisdom of Mahatma Gandhi. In this piece, the esteemed leader's reflections are played back at the contemplative pace of reading, allowing viewers to absorb, process, and reflect on the profound insights offered.

Through these video artworks, Barry Jones navigates the boundaries of textual representation, merging history, poetry, and socio-political discourse in a captivating digital medium.

Remix – Harjo x Rich x Gibson single channel video- looped mp4 video file edition of 3 2023 BUY

Newsbreak 10 Rules of Conduct single channel video - looped, mp4 file edition of 3 2013 BUY

Texts: Seven Blunders of the World single channel video – looped, mp4 file edition of 3 2013 BUY

P D Klein delves deep into the exploration of a single word: "yes." in these two distinct digital renderings of this word. Each work evokes a unique emotional resonance through their chosen color palettes.

The first rendering "yes" in a spectrum of cool colors, elicit feelings of calmness, introspection, and perhaps a sense of detachment or reservation. The other, contrastingly, is depicted in a cascade of warm hues, stirring sensations of passion, affirmation, and a wholehearted embrace of the word's positivity.

The word "yes" is reiterated multiple times, morphing the familiar into the unfamiliar.

This repetition results in an oscillating abstraction, where the word seems to dance, pulse, and fade, creating a rhythmic visual that challenges viewers to contemplate its significance and the emotions it evokes.

Through these works, P.D. Klein invites viewers into a world where a single word can be both a declaration and a meditation, proving that simplicity can often be the gateway to depth and complexity.

Untitled (yes, yes,cool) 12.25" x 16.25" (11" x 17" unframed) Digital print Edition of 25 2023 BUY framed BUY unframed

Untitled (yes, yes, warm) 12.25" x 16.25" (11" x 17" unframed) Digital print Edition of 25 2023 BUY framed BUY unframed

Marilyn Mitchell’s evocative piece, "Question Authenticity," blends an array of traditional mediums including oil paint, thread, and India ink.

The work presents itself as reminiscent of a newspaper spread, offering readers a glimpse into the notorious "Brillo Box Scandal." This scandal is rooted in the audacious tale of an art curator fabricating works falsely attributed to the iconic Andy Warhol.

As one's gaze drifts to the opposite side, the work surprises with reconstructed ads promoting services such as egg selling, gender transition procedures, and hair removal. This juxtaposition brilliantly conveys Mitchell's underlying message:

In an era where contemporary art may not directly spring from the hands of the proclaimed artist, and advancements in medical technology permit individuals to transcend their original physicality, the very essence of authenticity stands on trial.

Mitchell urges viewers to navigate and critically engage with the evolving definitions of authenticity in art, identity, and beyond.

Question Authenticity 14" x 32" India ink, oil paint and thread 2023 BUY

Hanlin Mu, during the period of global introspection that was the pandemic, conceived a series of works entitled, "Talking to Myself."

This collection is a series of photographic self-portraits, each one radiating with an emotional resonance that captures the artist's self-reflection and inner dialogue.

Every portrait in this ensemble showcases two identical images of the artist—a poignant representation of introspection and the duality of the self. These images are surrounded by Mu's handwritten thoughts, resembling a halo of introspection.

Elevated with vibrant hues reminiscent of classic pop art, the digital alterations introduce a contemporary edge, contrasting the personal, raw emotions with a stylized aesthetic.

This interplay is a vivid reminder of the blend of the personal and the public, the real and the virtual, especially pertinent in an era dominated by digital interactions.

The first piece reads, “cause much like time, you can’t go back so don’t regret for it,” an evocative meditation on the inexorable march of time and the futility of regret. This is companioned by a secondary inscription urging the viewer to step out of their comfort zone with the words, “sometimes you have to do things that make you uncomfortable.”

The subsequent portrait conveys a narrative of love and loss with the profound statement, “I have always been the one to say the first goodbye.”

It further delves into the theme of resilience and self-awareness, as evidenced by the poignant line, “Had to love and lose a million times.”

The concluding piece serves as a contemplative reflection on humility and the pursuit of growth.

It gently chides with the wisdom, “the only shame is to pretend you have the answer which you don’t.” This is complemented by the grounding advice, “A breakthrough is not the only thing you should care about,” urging viewers to appreciate the journey and not just the destination.

In "Talking to Myself," Hanlin Mu encapsulates the universal journey of self-discovery, presenting a tableau that resonates deeply in an era of solitude and reflection. The collection stands as a testament to the artist's ability to fuse the personal with the universal, all while employing a fusion of traditional and contemporary techniques.

Talking to Myself 1 13 x 19 inch Digital Print 2021 BUY

Talking to Myself 2 13 x19 inch Digital Print 2021 BUY

Talking to Myself 3 13 x19 inch Digital Print 2021 BUY

Kirsten Rae Simonsen presents two pieces from the series "Paradise Lost", a title, which of course references the epic poem written by the 17th-century English poet John Milton in which the biblical story of the expulsion of Adam and Eve is portrayed.

The island-inspired aesthetics resonate with anyone familiar with the fragile beauty of Hawaii, while also challenging the viewer to confront the themes of construction, destruction, and inherent impermanence.

These two paintings, although simplistic in their immediate appearance, embody the dichotomous relationship between the romanticized portrayal of island life and the looming specter of its desolation.

The first artwork showcases the sky in an overwhelming shade of pink, a color that is instantly reminiscent of the dreamy Hawaiian sunsets that melt into the horizon, giving the world a soft, rosy glow. The hue is warm, inviting, and profoundly tranquil, evoking the sensation of being cocooned within a tropical paradise, shielded from the adversities of the world. However, starkly juxtaposed against this serene background are the words "Don't go." This text is a poignant reminder of the ephemeral nature of paradise.

In contrast, the second painting is dominated by a vast expanse of blue sky. The blue is the embodiment of the vast Pacific, which surrounds the islands, both nurturing and threatening in its immense expanse

The words "Oh fuck" etched above the rainbow inject the piece with a sense of immediacy, urgency, and a touch of irreverence. It captures the sudden realization of an impending loss, the shocking confrontation with reality, and the sorrowful acceptance of an inevitable end.

The artist, as a resident of Hawaii, brings forth an intimate understanding of the island’s duality. "Paradise Lost" is not just a series about Hawaii but an exploration of the fragility of beauty, the delicate balance of nature, and the human tendency to romanticize while simultaneously destroying.

Don't Go 3.75 x 4.75 in Watercolor, gouache, and graphite on paper 2022 BUY

Oh Fuck 5 x 6.75 in Watercolor, gouache, and graphite on paper 2022 BUY

Sarah Stolar presents three works.

The first work, “Chin Up” is a striking juxtaposition of visuals and text. On the left, a woman is rendered, her chin raised in a posture of confidence or defiance. Her stance serves as a potent visual focal point. To the right, the phrase "Chin Up" is repeated eleven times in a descending pattern, echoing the pose of the woman and reinforcing its message. The repetition serves as a mantra, a constant reminder of the strength within, even when one might feel overwhelmed.

The second work is entitled, Lick Your Wounds. At first glance, the art piece is a simple, dark ceramic bowl filled with lollipops.

Upon closer examination, the wrappers of these sweet treats bear the phrase "Lick your wounds". The choice of medium, color, and text serves as a potent amalgamation.

The black ceramic bowl is a study in contrasts. Its color represents the void, perhaps signifying pain, trauma, or the emptiness one feels during moments of despair. Ceramics, by nature, is a medium that requires molding, shaping, and then intense heat to set — a process which mirrors the human experience of facing challenges and coming out resilient.

The wrapper's phrase, "Lick your wounds", is a clever play on words.

On the surface, it's a directive related to the lollipop, encouraging one to partake in the act of licking. But metaphorically, "licking one's wounds" is a common phrase denoting recovery or healing after defeat or injury. This art piece seems to suggest that within the act of healing, there is a sweetness, a reward, or a growth to be found. It could imply that pain, though inevitable, brings about its own form of redemption or growth.

Furthermore, the action of licking is gradual, suggesting that healing doesn't happen overnight but is a slow process, much like savoring a lollipop. The repetitive act can be meditative, allowing one to reflect and find clarity.

The third work, a wall sculpture, is entitled, Perfect. In today's digital age, where social media and the relentless drive for perfection dominate, this piece serves as a poignant commentary. The neon sign's luminous "Perfect" can be seen as society's collective voice – urging, praising, and demanding perfection in all aspects of life. Its radiant glow is mesmerizing, symbolizing the allure of perfection and the compelling desire to achieve it.

However, the brilliance of the sign is powered by the mess of wires below, and here lies the crux of the piece's message. These tangled wires represent the complexities, struggles, and unseen efforts behind the facade of perfection.

It's a visual reminder that what appears flawless on the surface often comes with its own set of complications and entanglements.

Moreover, by incorporating the tangled wires as an integral part of the artwork, the artist challenges the viewer's perception of what constitutes 'perfection'. Can something be perfect with its flaws in plain sight? Or perhaps, is it these very flaws and complexities that render something truly perfect?

In essence, this neon art piece serves as a mirror to modern life, urging viewers to look beyond the glaring lights of perfection and acknowledge the beautiful, imperfect chaos that lies beneath.

It's a call to embrace both the shine and the struggle, recognizing that they are two sides of the same coin.

Chin Up 36” x 28” ink, blk 3.0, graphite, and permanent final on Stonehenge paper 2023 BUY

Lick Your Wounds Candy Dish - 5x12.5x8.5” 500 custom spicy tamarind lollipops and ceramic candy dish 2023 BUY lollipops and candy dish BUY lollipops only

Perfect 4 x17x3” neon only glass and argon gas neon 2022 NFS

Amid the digital age where screens dominate our interactions, artist Enne Tesse emerges with an intention to evoke a visceral connection to the tangible. Through the medium of collage, Tesse aims to redirect our attention to the tactile sensations of book pages, beckoning us to the roots of written communication and the nuances of touch.

The first collage is an intricate layering of different book page fragments, each piece meticulously hand-cut and placed, emphasizing the physicality of the medium. While most words are obscured, creating a background texture reminiscent of age-old manuscripts, the words "sensations" and "substances" emerge in stark relief, pasted repetitively. The deliberate placement of these words is a potent reminder of the inherent sensations derived from physical substances, in this case, the paper.

Continuing with the aesthetic of the previous collage, the second artwork plays with the concept of omissions and connections.

Fragments of sentences are visible, but two pen circles draw the viewer's focus to specific words, while others are intriguingly cut off. This act of omission makes a powerful statement about selective attention and how, in the sea of information, certain words or ideas grasp our consciousness.

The third collage is a bold divergence into the potency of action words. Words like "remained," "enclosed," "destroyed," "revealed," "proved," "covered," "formed," and "burned" are prominently displayed, each telling a story of its own through the space between.

This artwork becomes a testament to the myriad of stories and histories contained within books, each verb reflecting an action or state that has shaped narratives for ages. These verbs, indicative of touch and impact, resonate deeply with the artist's intent, emphasizing the tangible essence of books and the sensations they elicit.

Through this triptych of collages, the artist challenges the viewers to not just see, but to feel.

Each collage becomes an invitation to experience the textured, palpable nature of book pages, urging a rediscovery of the lost sensations of touch in an increasingly digital world.

The (P)age(s) We Live(d) In 3 15 x 12 x 1 in. framed Textbook pages on paper 2020 BUY

The (P)age(s) We Live(d) In 6 15 x 12 x 1 in. framed Textbook pages on paper 2020 BUY

The (P)age(s) We Live(d) In 1 15 x 12 x 1 in. framed Textbook pages on paper 2020 BUY