October 14 – November 17, 2017

Marcia Annenberg • Marcene Glover • Carole Richard Kaufmann • Carolyn Monastra • Matthew Paquette

Five NYC based Artists each take a different approach to the theme of Seeing Beyond, sharing an intriguing array of insights, and thought provoking outlooks, executed in a range of medium, styles, and subject matter. These include emerging, to nationally awarded, established international artists.

 

 

Meet the Artists:

Marcia Annenberg: Flomenhaft Gallery, Chelsea

SEEING BEYOND media news coverage.

Marcia’s installations and paintings reflect contemporary experience; the commingling of news and entertainment, the consequences of the ownership of media by a small number of companies and the loss of constitutional protections. America as defined by our Bill of Rights is in a state of flux. The who, what, where and why of journalism has been replaced by the pursuit of celebrity news and crime. These artworks ironically employ the tools of investigative journalism to critique the absence of the presence of critically important news stories. We are all at risk for misinformation and the rise of opinion as news.

M. Annenberg has lectured at Princeton’s Bernstein Gallery, in conjunction with her exhibit there entitled, News/ Not News. She has also been a panelist at the Bruce High Quality Foundation University, Artists Talk on Art, Soho House and the UN Program of the Women’s Caucus for Art. She moderated and participated in the panel Art, Activism and Global Warmingat the Flomenhaft Gallery, with Dr. Gavin Schmidt, the Director of NASA, Goddard Institute for Space Studies. She has been named by Origin Magazine as one of America’s top 100 Creatives in 2015.

 

Marcene Glover: dual resident of Manhattan’s Upper West Side and BOTTLE WORKS Studio

SEEING BEYOND: Marcene’s Finding Talismans series paintings ask the viewer to See Beyond the visual, to possibilities, to hope, to glimpses to hold onto for strength and inspiration toward navigating our daily challenges, into a place of personal solace and growth.

Her paintings of tattooed flowers, in the Wind in the Garden series, are a metaphor SEEING BEYOND a person’s appearance, cultural mores and social choices, to find common ground with which to build community strength.

Former Congressional Portrait Artist and Courtroom Artist, Marcene Glover paints from her passion for community, using nature as metaphor. She combines oil paints and glazes with wax and gold leaf, splashing them onto large wood panels. In this era of quick sound bites, Marcene paints subtleties, nuanced layered images and texture, hinting at subject matter, coaxing the viewer to define the details, asking the viewer to look deeper into her paintings, but especially deeper into our surroundings. She hopes this carries over into other areas of our lives, toward really engaging in social issues, not relying on uninformed opinions.

Marcene serves on exhibitions committees with United Nations NGO organization Women’s Caucus for Art, and New York chapter of WCA. Her work is commissioned by U.S. Congressmen, and collected by the Pentagon, universities, museums, and galleries.

 

Carole Richard Kaufmann: Midtown Manhattan

SEEING BEYOND transcending time and place, mixing the figurative and the abstract with fantasy.

My passions are feminism, art and politics. Landscapes and figures remain my vehicles for seeking new ways to create art, inspiring me to make the Chinese character symbols for man and woman come alive and interact. My landscapes are often built from drawn calligraphic symbols.

Within these drawings are many hidden architectural elements, petroglyphs, and creatures of my imagination.

Pencil and colored pencil drawings bring another perspective to the ancient kingdom, as a vehicle to play with these simple instruments.

Paintings in oil and gouache, and drawings transform my fantasy of ancient Chinese scrolls into vibrant bold colors, reflecting the dramatic changes I have seen in China, and in my own evolution during travels there from 1982 on. From China, India, to Bhutan, Thailand, Laos, Vietnam, Cambodia in the east to South America, through the jungles of Patagonia, Iguassu Falls, Easter Island to Africa, across the silk road to the 5 Stans above Afghanistan. My work, created from these memorable experiences, has become a metaphor for the evolution of life. Introducing elements of human eroticism, the dance of life, transcending time and place, mixing the figurative and the abstract with fantasy.

I’m always in search of the Ch’i.

 

Carolyn Monastra: Brooklyn

SEEING BEYOND realism in landscapes, creating and discovering mystery in the natural world.

A native of Cleveland, Ohio, Carolyn Monastra received her MFA in photography from The Yale School of Art. For the past fifteen years her work has focused on creating and discovering mystery in the natural world. Artist residencies at The Djerassi Foundation, Blue Mountain Center, and the Saltonstall Foundation have given her inspirational environments in which to create her work. After being on a residency at the Skaftfell Visual Arts Center in Iceland, Carolyn was motivated to begin her current project, The Witness Tree, a project to honor and preserve places affected by climate change. Over the past four years she has visited nineteen US states, seventeen countries and every continent researching and photographing for this project. In 2012, she was selected by The Climate Reality Project to become one of their Climate Leaders. Some of Carolyn’s awards include a production grant from The Puffin Foundation, a travel grant from the English Speaking Union, and a multi-media fellowship from BRIC. Her work is in the Marguiles collection in Miami and has been exhibited in venues across the United States and in China, Northern Ireland, and Switzerland. She currently lives and works in Brooklyn, New York.

 

Matthew Paquette: Lower East Side

SEEING BEYOND: Matthew’s ink drawings conjure elements of the physical world, to let ourselves experience what might be, or what might be imagined. If you look at any one thing for a long enough time it will start to look like nonsense. Something simple like a shirt’s pleat or a tree branch can turn into a closed mouth or a long chitinous finger with the right amount of focus. Following this principle, a subject goes from a likeness to a misinterpretation to an alien construct only familiar to the artist.

“Wanting to illustrate this process quickly and with little tension, I use ink (my personal love for the medium does play into it too). Having to make the choice between careful, time expensive marks and quick unforgiving ones (both of which are indistinguishable once a piece is finished) allows me to work as automatically as the process in which I see my subject transforms it. At this point, if I’m able to focus intently enough there is little to no disconnect between what I see and what appears on the page.”