Turbulence

T U R B U L E N C E

Anthony Wigglesworth, Standing In The Shallows, 2018, oil on canvas, 47.25 x 47.25 inches

Jeffrey Bishop, Sydney Cash, Lisa Corinne Davis, Fred Gutzeit, Gwenaël Kerlidou, Ellen Kozak and Scott D. Miller, John Mendelsohn, Anthony Wigglesworth

T U R B U L E N C E An exhibition exploring states of change, instability and fervent movement Featuring works by: Jeffrey Bishop, Sydney Cash, Lisa Corinne Davis, Fred Gutzeit, Gwenaël Kerlidou, Ellen Kozak & Scott D. Miller, John Mendelsohn, Anthony Wigglesworth November 15th, 2018 - January 31, 2019 Opening Reception: Thursday, November 29th, 2018 6:00 - 8:00 PM RSVP for reception and events: rsvp@waldandkimgallery.org

In collaboration with the

Donghwa Cultural Foundation

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JEFFREY BISHOP

b. 1949

Jeffrey Bishop incorporates a diversity of artistic practices in his works. Through his combinations of digital and traditional mediums, he investigates both the autonomy of abstraction and the role of painting within the rapidly progressing realm of technology.

His works often integrate elements with black and white rippled patterns that morph into bulbous forms, reminiscent of the characteristics present in optical art in their vibration and overall visual effects. Combined with other geometric and organic, liquid-like forms, Bishop’s works embody the qualities found in music, specifically the rhythm, improvisation and energy of jazz. The artist draws his inspiration from a variety of subjects—from physics, cosmology and architecture, to poetics and technology—to produce abstract works infused with an unsettling yet fervent energy through a collision of forms, colors and textures.

Based in Brooklyn, NY, Jeffrey Bishop has exhibited his works in galleries and museums locally and abroad including the Boston Museum of Fine Arts, the Seattle Art Museum, and the Institute of Contemporary Art (Los Angeles), amongst others. He was also the recipient of the Betty Bowen Memorial Award from the Seattle Art Museum along with awards from the Art Matters Foundation and the Seattle Arts Commission.

Jeffrey Bishop, Untitled 18 #8, 2018 Acrylic and collage on canvas. 17 x 14 inches

SYDNEY CASH

b. 1941

Sydney Cash explores the optical nature of pattern and movement through painting, sculpture and installation. In his works, Cash investigates philosophical and psychological questions, such as the relationship between the work and the viewer and between the work and its environment, while challenging the boundaries between image and object.

Light plays a key role in his sculptures and installations. Integrating glass and mirrors, the artist manipulates light as a physical material, transforming it into complex images composed of reflections, refractions and shadows. His kinetic sculptures created in the 1980s and the 1990s are constructed by overlaying ribbed industrial glass on top of paper printed with various patterns. The vibrating movements, together with the blending of colors created by these patterns, become optically kinetic as they are revealed in relation to the viewer’s movement, thus making each projected experience unique to the individual.

Works by Sydney Cash have been featured in solo and group exhibitions in museums and galleries throughout the United States and abroad. His works are held in the permanent collections of major art institutions such as the Museum of Modern Art, the Corning Museum of Glass, the Smithsonian Museum, and the Musée des Arts Décoratifs in Paris.

Sydney Cash, Kimosabe, 2012 Glass/copper/mirror panels, two overhead lights 73 x 31 x 4 inches

L I S A C O R I N N E DAV I S

b. 1958

Lisa Corinne Davis creates visual narratives exploring the themes of racial, social and psychological identity. Her paintings incorporate abstract forms and grids, reminiscent of multilayered maps filled with dynamic, flowing movement. According to Davis, the map-like elements refer to an “objective” vocabulary, as the straight lines and grid forms provide a sense of order and the security of categories within a system. The nonlinear organic forms, spills and gestural marks refer to the “subjective”, representing a more inward, psychological experience. Through the tension created between the multilayered components, the artist challenges the viewer to investigate his or her role in the work, questioning whether perception is purely an interpretation of established facts, or is something to be understood through personal experience.

Lisa Corinne Davis has exhibited in numerous galleries and venues across the United States and abroad. Her works are held in the permanent collections of The Museum of Modern Art, (New York) the J. Paul Getty Museum (Los Angeles), and the Victoria and Albert Museum (London). She has received numerous awards including The Louis Comfort Tiffany Grant, a National Endowment for the Arts’ Visual Fellowship and three Visual Arts Fellowships from New York Foundation for the Arts.

She is currently a professor at Hunter College in New York and lives in Brooklyn and Hudson, NY. Lisa Corinne Davis, Improv Index, 2017 Oil on canvas. 55 x 47.5 inches

FRED GUTZEIT

b. 1940

In his Nature into Abstraction series, Fred Gutzeit examines nature beyond its physical beauty by merging ideas of science and art to compose “visual music”. The series expands on his earlier ink drawings created as interpretations of emotional responses evoked by Otter Falls in the Catskills, a site he captured in drawings and photographs for ten years.

Though painting and digital media, Gutzeit reinvisions the landscape by transforming its natural elements into abstract graphic patterns of various organic shapes, executed in colors from the electromagnetic spectrum—red, yellow and blue—together with black and white. Drawing parallels between the sound waves of music and the light waves of painting, the artist leverages the pulsating vibrations which emanate from his abstract patterns and colors to generate optical sensations. Gutzeit’s practice draws on an improvisational approach, with each work deriving inspiration from its predecessor, creating a unified sequence of distinctly individual works.

Fred Gutzeit has exhibited in numerous galleries and institutions locally as well as internationally including MoMa PS1 (New York), James Cohan Gallery (New York), A.I.R. Gallery (New York), the Jewish Museum (New York), Bronx Museum of the Arts, Artists Space (New York), Cleveland Institute of Art among others. He is also the recipient of three PollockKrasner Foundation Grants.

Fred Gutzeit, Ott-11, 2004 Acrylic and Flashe on paper on canvas 52 x 38 inches

GWENAËL KER LIDOU

b. 1953

Gwenaël Kerlidou challenges the conventions of painting by exploring the nature, culture and history of abstraction as a visual language. In his Opus Incertum series, he breaks away from the rectangular canvas by creating paintings with multiple shaped stretchers. He further expands beyond the edge of his canvases by spray painting the wall around the canvases, thus incorporating it into the work as a binding agent between its separate parts.

For Kerlidou, abstraction has become the way in which diverse narratives can be projected without pre-established boundaries. In his work, the artist examines various categories of abstract painting in relation to their enduring power as a means of challenging our shifting values within a technology-dominated environment.

Born in Lille, France, Gwenael Kerlidou lives and works in Brooklyn, NY. He has been featured in solo and group shows at galleries and art institutions in New York, Paris and Berlin, including at The Brooklyn Museum (New York), the Musée des Beaux-Arts (Lille, France), and the Biennale de Brest (France). His works are held in international private and public collections, among them the Musée des BeauxArts in Cholet, France and the Mairie de Valenton, Seine et Marne, France.

Gwenaël Kerlidou, Minotaur, 2018 Acrylic on tinted canvas and spray paint on wall 64 x 53 inches

ELLEN KOZAK b. 1955 SCOTT D. MILLER b. 1956 Ellen Kozak explores the relationship between the observer and landscape through her practices of painting and video. Inspired by bodies of water, the artist uses their surfaces as a giant lens and synthesizer to record the constant changes in light, color, and motion. riverthatflowsbothways by Ellen Kozak and Scott D. Miller is a collaborative video installation that unites Kozak’s intimately observed still images and video of the Hudson and Garonne Rivers in a series of gradually shifting passages together with Miller’s string ensemble composed specifically for this installation. All four channels (including the audio) are played in non-sychronized loops of approximately 13 minutes. In continuous play, any combination will not repeat for 4 years, 4 months, 3 days, 2 hours, 9 minutes and 17 seconds. Fusing ephemeral luminosity with tidal motifs and natural phenomena with man-made disturbance, riverthatflowsbothways creates an immersive contemplative space that lengthens one’s sense of time and evokes feelings of wonderment and comfort but also conjures presentiments of destabilizing undercurrents.

Important collections in which Kozak’s works are included are the Metropolitan Museum of Art, the Brooklyn Museum, the Fogg Museum, the Zimmerli Art Museum at Rutgers University, the National Museum of American Art Smithsonian Institution, the Hudson River Museum, and the Tochigi Prefectural Museum of Art among others.

Miller’s works have been performed at La MaMa, Symphony Space, The Knitting Factory, Roulette, CBGB, P.S. 122, Lincoln Center Library, The Dimenna Center and many other venues.

Ellen Kozak and Scott D. Miller riverthatflowsbothways (detail), 2016 Four-channel video installation

A NTHON Y W IGGLESWORTH

b. 1979

Dublin-based artist Anthony Wigglesworth seeks to capture the ethereal through an exploration of texture, movement and effects of spatial illusion. Although his works are inspired by the flora, fauna and designs that make up his everyday environment, they aim to present a celebration of abstraction in its pure form rather than a representation of the natural world.

Interested in exploring the properties of paint as an artistic device, his practice involves a process of creation and destruction through layering and manipulating the paint with brushes, palette knives and squeegees. Like an architect, Wigglesworth approaches his paintings through the conception of a plan, upon which he builds strong pictorial “foundations”. He first creates an underlayer using a small palette knife, then steadily layers surface upon surface, merging multiple colors together and continuously building upon various dimensions of paint. Through this process, the artist creates dynamic works integrating vivid and bright colors, often employing silver, gold and pewter paints to create light within the pieces themselves.

Living and working in Dublin, Ireland, Anthony Wigglesworth has exhibited in numerous galleries and venues locally and abroad including Sol Art Gallery (in Dublin, London, New York and Chicago) and Inception Gallery (Paris). His works have also been featured in notable art fairs, such as the SOFA Expo in Chicago, Art Wynwood in Miami and the Edinburgh Art Fair in Scotland.

Anthony Wigglesworth, Solar Storm, 2017 Oil on canvas. 59 x 59 inches

T U R B U L E N C E