9/9/2023 0 Comments Vice versa nyc menuSOHN earned her Bachelor of Fine Arts from the College of Design at Kookmin University (Seoul, South Korea), and her Master of Fine Arts from Cranbrook Academy of Art (Bloomfield Hills, MI). She invites viewers to join the game of chasing down such visual and structural correlations between the solid moments she has excavated from the system. Hae Won Sohn is a resident artist at Baltimore Clayworks. Through repetitional mold-making and casting, SOHN witnesses the distinction between empty volumes and filled volumes, voids and masses, negative spaces and positive ones beginning to neutralize. She celebrates these autonomous outcasts through the act of casting, an act of acknowledging history as she is preserving moments, and creating new ones. Residues, leftovers, remains, and remnants, which were once valuable parts in the context of one process no longer holds the same meaning, function, nor value once they are removed from its system. The body of work created primarily consists of a series of cast objects whose origins are substances that are produced in her studio, through her studio practice-either by intention or not. Hae Won Sohn’s artistic practice evolves through the process of casting and mold-making physically, conceptually and methodically. His work has been featured in a number of group and solo exhibitions in Philadelphia, Baltimore, and Washington DC. In addition to being an artist and freelance furniture maker, he currently works as an Exhibits Specialist for the Smithsonian American Art Museum. After serving as a public school art educator for half a decade, he relocated to Baltimore, MD to enroll at MICA with the aim of receiving the aforementioned degree. New Britain, CT 1982) earned an MFA from Rinehart School of Sculpture at MICA (2014), and a BS in Art Education from Central CT State University (2006). Playful and deliberately ambiguous, but not ambivalent, Primo’s artworks are reflective metaphors on living in a consumer-dominated nation saturated with information and objects, where narrative, truth, and memory are all suspect. Nick Primo (b. Utilizing the building processes and visual language of architecture, object, and furniture design, Nick Primo creates sculptures, prints, and drawings that investigate the intersectionality of these constructs with time, transition, intimate and public space. ![]() The gallery hours are Thursdays and Saturdays 1-4pm, and by appointment. It isn't what it looks like but what it is that is of basic importance. The visual aspect can't be understood without understanding the system. The system is the work of art the visual work of art is the proof of the System. The aim is to decipher between what's natural and the systems that reinforce structural ideas. The work examines the perceptions and sense of familiarity surrounding artist modes. Vice Versa relates to how the artists look to given opposing spaces and the impact it has on our ability to formulate constructivism. Thank you! Click here to contribute.Baltimore, MD - MONO Practice Baltimore is delighted to present Vice Versa, a two person exhibition by Nick Primo + Hae Won Sohn. Help keep the painting conversation going in 2023. If you enjoy Two Coats of Paint’s art coverage, please consider making a tax-deductible contribution. NOTE: Two Coats of Paint 2022 Fundraising Campaign is underway. ![]() She lives and works in Brooklyn, NY and is represented by Derek Eller Gallery in NYC and Andrew Rafacz Gallery in Chicago. Through December 21, 2022.Ībout the author: Julia Bland is an artist working at the intersection of painting and weaving. “ Firelei Báez: Americananana,” James Cohan Gallery, 48 Walker Street, New York, NY. In layered images, her canvases bring alive myriad daunting questions of fact, fiction, action, and erasure. As scientific discoveries in space exploration seem to gather exponentially, these paintings stoke a longstanding meditation on the colonial impulse to venture into “uncharted” territory. This outstretched metaphor does not negate the contemporary social urgency of Báez’s work, but rather extends it. If “Americananana” conjures the myopic absurdity of nostalgic American mythologies, the work itself seems to go a step farther, perhaps locating the origin of our national confusion within the origins of the universe itself. Firelei Báez, detail, La Sirène (Describing the West India Navigation, from Hudson’s-Bay to the River Amazones)
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