Sunday, November 24, 2013

Nature in Chelsea and LES

Julie Heffernan, painting detail from "Self Portrait as Emergency Shipwright," 60 x 84 inches, from her recent solo at PPOW, "Sky is Falling." Typical in her work, close views reward surprises.

Heffernan conflates grand visions of nature with pessimistic perspectives on where it is headed, described in a HuffPost interview here: Heffernan HuffPost Interview Link

In this detail, an encapsulated version of the show's dual palettes

Warm, gnarled, fleshy trees ground the eye from cold, turbulent tides

Color temperatures wend through dystopias and utopias

Historical sites groaning under their own weight. A monument to patriarchy, perhaps? We witness the conflagration from shore.

In the side room, new works by Katherine Kuharic

Displaying her penchant for fine detail and logos in several clean, bright, sizzling hued paintings

Heffernan's Self Portrait on the Brink, 2013, 54 x 66 inches, a detail

and the full painting--circles upon circles, advancing, and surrounding the fortress

Collaboration with Brooklyn-based artist Virginia Wagner that contains the small worlds of Heffernan's paintings as dimensional resting points of hope and redemption within the larger cacophany

Glowing crystal tree trunk

Chinese rocks show three faces--side, back and front--here, writ in color, western style

The painting in full

as context for the tree
Charles Burchfield at DC Moore


Landscape made of gestures: an aficionado of Chinese painting.

Simultaneous worlds and mark making systems

continue to amaze

Greg Kwiatek at Lynch Pham on the LES. Gouache, 9 x 12.

These were beautifully installed. See images here: Lynchtham link

The gouaches are all 2013 and 9 x 12, painted in Maine.

July, 2012, 54 x 60 inches. Filled with the suffused heat of summer and the flicker of coolness one finds as a respite.

Sky III, 2013, 20 x 22 inches. So delicate. There were three of these.

August Moon 1, 2013, 20 x 22 inches. One can see the artist reaching for the perceptual truth of it, head craned back, eyes on the alert and hand, painting it down.

Installation views. These and all images were provided by the gallery, good thing as the gouaches were especially hard to capture in their display case on the iPhone.

From the back of the gallery's front room

and front to back, the beautiful Cloud series with July

Julie Evans at Winkleman. Installation views from the gallery website, photos by Etienne Frossard. At the opening, too much going on to photograph. Evans' previous work, which referenced Indian painting techniques studied on a 2003-4 Fulbright Research Grant, has morphed into looser, more organic pours on mylar that are meticulously collaged and mounted on panel or straight to the wall

The exhibition runs through Wednesday, November 27 has been extended to December 7th!

Julie Evans, Bloodshot, 2011-12
As temperatures dip and winds howl, these shows remind us of the delicate transitions in warmer climes.


Ipainter said...

Love Heffernan's use of color, even though I am not a fan of such bright color. the forms are compelling and the details intriguing. I love it when you have to keep reading a painting to get it all. would love to have seen it in person. the paint itself looks luscious even in the photos. By the way your pix are great, well focused and nicely lit with no glare.

Ipainter said...

I've been thinking more about Julie Heffernan's paintings. I like their dramatic effect. It is like a rethinking and reimagining of historical periods. It has the drama in the Barouche painting's of Caravaggio et al. It also has aspects of Bosch’s paintings in the Northern Renaissance and Fragonard in the Rococo period.
Well done.