MAGIA DEL MOMENTO: Antonio Marra

JanKossen Contemporary is pleased to present MAGIA DEL MOMENTO, Antonio Marra’s premiere solo show at the gallery, on view from September 7th to October 14th, 2017.

Antonio Marra’s 3D paintings are simultaneously familiar and revolutionary. Although nostalgic of Frank Stella’s vibrantly coloured geometric works, Marra further enhances the experience of abstraction by injecting a shock of the unexpected.

Antonio Marra, Das Geheimniss der letzten Rille (left view, front view, and right view), 2016

59 x 59 x 1 inches

Using precise mathematical calculations, Marra introduces sculptural features that elevate his paintings. His masterful craftsmanship is evident in the thick, precisely painted grooves formed entirely by the artist’s own hand. Walking alongside the work allows the dynamic energy of the optical illusion to manifest. The observer has to move from one side of the painting to the other, otherwise they’re only seeing a fraction of Marra’s artistry.

The exhibition is a kaleidoscopic experience; Marra affects the audience’s perception of depth by manipulating colour, shape, and form. His works are provocative as they present a challenge, awakening curiosity and inspiring interaction. His lenticulars demonstrate conflict, briefly offering a moment of rigidity and certainty through distinct geometric patterns that are then disrupted, undergoing a metamorphosis that can only be initiated by the spectator.

Antonio Marra was born in Italy and has lived in Germany for many years. He has exhibited in Germany and throughout Europe since the early 1990s. Recently, his work has been shown in the United States. Marra’s works are on view in public collections including the Museum Explora Frankfurt, Frankfurt am Main, Germany and the Ritter Museum Stuttgart, Stuttgart, Germany.

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FRESH! 3rd Annual Summer Show “GEOFORM”

New York, NY. JanKossen Contemporary is pleased to present FRESH! 3rd Annual Summer Show: GEOFORM, a group show in collaboration with Arte Ponte Cultural Institute, featuring works by 26 artists demonstrating their interpretations of geometric abstraction.

GEOFORM is a mixed-media show where visitors are invited to participate in uniquely constructed realities composed by a diverse group of international emerging artists. The exhibition highlights the potential of geometric forms; it is through the combination of pure shape and structure that reality is decoded and the audience is introduced to an intensely raw experience.

Exhibited artists include

Guang Zhu | Brooklyn, NY Patti Samper | Montclair, NJ Stacy Lovejoy | Portland, OR Larry Jones | Terre Haute, IN Ryota Matsumoto | Tokyo, Japan Danielle Feldhaker | Tel Aviv, Israel Sabre Esler | Atlanta, GA John Wilson | Manteo, NC Sean Mick | Jamaica Plain, MA Atsuko Okamoto | Boynton Beach, FL Jackie Tufford | Jupiter, FL George Goodridge | Miami Beach, FL Myoung Su (Sienna) Ko | Providence, RI Blair Martin Cahill | Ojai, CA Jon Merritt | Newburyport, MA April Hammock | Baton Rouge, LA Lisa Fromartz | New York, NY  Kyle Yip | Toronto, ON Monica Delgado | New York, NY Amy Chan | Henrico, VA Jane Lincoln | East Falmouth, MA Blaine Breaux | River Ridge, LA Russell Bellamy | Leesburg, FL Roberta Estes | Seneca Falls, NY Sharmen Liao | Los Angeles, CA Clark Rendall | Brooklyn, NY

Through the works of Danielle Feldhaker and April Hammock, visitors are introduced to the foundations of the genre; both artists reference the styles of Mondrian, Kandinsky, and other abstractionists, while bringing something uniquely theirs as demonstrated by individual varying combinations of form and colour.

Guang Zhu celebrates the beauty of non-objective form by taking a mathematical approach to his work. There is a sense of satisfaction from her organized process, a characteristic also shared by Patti Samper, who captures orderly delight through the simplicity and minimalism of her shapes. Similarly, Sabre Esler’s works are methodically calculated; her patterns are developed logically while also managing to establish a human connection.

There is an added complexity to the works of Larry Jones, Stacy Lovejoy, and Jackie Tufford, as their compositions are emotionally charged. From Jones’s tightly coiled sculptures, to the regal nostalgia of Tufford’s stained glass, to the celebration of childhood in Lovejoy’s works, each artist coerces a different, and yet equally powerful visceral response.

Although chaotic in nature, the works of Ryota Matsumoto, Blaine Breaux, Kyle Yip, and Sharmen Liao, are likewise commanding. The shapes in their works permeate the space, establishing relationships that are simultaneously tumultuous and harmonious. This dichotomy is further illustrated by Atsuko Okamoto and Myoung Su (Sienna) Ko, who find peace by injecting tension. They guide viewers through a balancing act of contrasting elements; from cool and warm tones to the dual experience of movement and stability.

Viewers are exposed to a delicate vulnerability in the works of Blair Martin Cahill, Lisa Fromartz, Monica Delgado, and Russell Bellamy. Each artist redefines perception and creates depth and meaning through layers. Meaning is derived from the relationship between each layer, and audiences are moved towards self-reflection as they consider the juxtaposition of seemingly contradictory elements.

That correspondence between visitor and artwork is further accentuated by George Goodridge, Jon Merritt, Amy Chan  and Jane Lincoln. The audience is present as they participate in an organic dialogue between space and work. The dimensionality of their works reach out and communicates with viewers, pressing for interaction and seeking to be given meaning.

Much like Rosecrans, John Wilson’s work holds architectural elements. Influenced by his background in architecture, Wilson’s art provides structure and shape without instruction; simply permitting the non-objective to exist.

The works of Sean Mick and Roberta Estes exhibit the spirit of geometric abstraction as expressed by Mick, who describes his work as ‘reductive visual language.’ Clark Rendall, whose works are inspired by bodies of water, also embodies this essence of deconstructing, allowing the audience freedom over meaning.

It is through the mastering the genre of geometric abstraction, that these artists create a pure concept that challenges perception and redefines reality.

The exhibition opens on Thursday, July 13th, 2017, and will remain on view through August 18th, 2017.

 

Novum Spatium: Dieter Balzer and Dirk Salz

JanKossen Contemporary is pleased to present Novum Spatium, a two-person show featuring German based artists Dirk Salz and Dieter Balzer, on view from March 16th to May 6th, 2017.

Novum Spatium, meaning New Space, explores the concept of perception in relation to our environment, physical space and one’s interaction within it.

Dieter Balzer, translates these ideas through pristine geometric abstraction, creating sculptural, minimalist form that deal with depth and negative space. Bright, intricate and overlapping; the complex elements built upon each other, carry the viewer’s eyes over and through an endless, looping playground of planes.

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Elements of Balzer’s work run parallel to contemporary influences on graphic, industrial, and architectural design. The flatness of the vibrantly colored foils create a contemporary twist on the theories of non-representational neoplasticism, cubist sculpture and the Japanese Superflat movement.

Where Balzer uses 3-dimensional elements, the work of Dirk Salz approaches these concepts from another perspective. Instead of creating physical depth with his work, Salz toys with the impression of it. Salz’s uses simple, Supremacist compositions that seem to echo with their color transparency and smooth surfaces.

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These highly reflective pieces confront the viewer with their own image, and present an experience of shifting planes, and varying depths. Surrounding elements found within the work’s environment emerge and are mirrored as one moves back and forth between the self and the work.

Like John McLaughlin’s Light and Space movement, the works invoke a sense of temporality within one’s perception like a Robert Irwin or James Turrel installation; reinventing the world around us.

Together, the two artists create a visual dialogue that is crisp, energetic and articulate. Moving between the two bodies of work invokes a sense of moving between worlds, one that brightly invokes the geometric quality of architecture and the digital world that is so familiar to us, while the other allows us to reflect on the quality of space and our place within it.

Dieter Balzer studied at the Universities of Heidelberg and Chesterfield College of Art. His work can be viewed across Germany at the Stern-Wywiol Galerie in Hamburg and the Galerie Corona Unger in Bremen, Germany; and has previously shown across the United States and Canada. He currently lives and works in Berlin, Germany.

Dirk Salz studied at RWTH in Aachen, Germany and lives and works in Mulheim an der Ruhr. Exhibitions include public institutions such as the Museum Katharinenhof, Kranenburg, Kunstmuseum Mülheim/Ruhr, Germany and has shown with various international galleries and art fairs.

FRESH 2016: Update

 

JanKossen Contemporary’s annual summer show FRESH! has now reached its’ 4 week mark since its opening, and experts and the public have given us ample feedback about the works exhibited. Our opening vernissage which took place on July 7th was a huge success with over 150 people coming through. The crowd included the artists’ friends and family, passerby, and select invited guests who were either speculating, congratulating, or simply just browsing the fresh talents present in the show.

We have invited a group of professionals from within the art world such as gallerists and curators to visit the exhibition and provide feedback and criticism for these emerging talents. Among them was Jessica Porter from Porter Contemporary located in both Chelsea and Flatiron. She showed interest in Jason Bryant, Neven Zoricic, and Zachary Williams’ portraits. Previously a JanKossen staff member, junior curator Sherri Littlefield who now works extensively with pop up galleries around the New York City area; was engrossed in Colleen Fitzgerald, Aniko Safran, and Roman Traexler’s eye-catching pieces. Journalist and writer and account manager, Neha Jambhekar from Artnet News was drawn to Axelle Kieffer, Clay Jordan, and Nina Sumarac’s to be her top picks. We also asked our friendly neighbors to join in with their insights. Chelsea Ramirez, gallery assistant at Denise Bibro Gallery was impressed by the works of Christopher Owen Nelson, Byungkwan Kim, and Melonie Mulkey. Lastly, for an alternative and fresh viewpoint, we welcomed art and design expert, architect Jee Won Kim for his top three picks, resulting in the selection for Maxwell Emcays, Jack Rosenberg, and Jasmin Edelbrunner’s pieces.

In a more intimate yet casual light, there was an overwhelming praise for Clay Jordan and Melonie Mulkey’s pieces from the staff and visitors to the gallery. JanKossen’s sales associates Adel Wong, as well as current and previous interns Dohie Kim, Cooper Lovano, and Jordan Choptovy were fascinated by the intricate abstraction of the figure in Mulkey’s photograph as well as the tasteful simplicity of Jordan’s work. JanKossen Gallery Director Jasmin Kossenjans was also particularly impressed by Axelle Kieffer, Neven Zoricic, and Jasmin Edelbrunner’s works.

Overall, it is safe to say that Melonie Mulkey’s work has gotten an astounding amount of acclamation from both our experts as well as the general public, along with Clay Jordan’s and Jasmin Edelbrunner’s pieces.

FRESH! runs through August 17th before JanKossen closes for the rest of the month.

Psychedelic

Experimenting with intensified and distorted sensory perception, BynumSimmons, and Laube transform traditional art forms into psychedelic encounters.

Peter Bynum invites viewers to experience a higher form of consciousness, to engage in meditation on the oneness of all living things, and abandon artistic ego to the innate intelligence of paint. Exploiting the inherent branching composition and dendritic forms of pressurized paint, the artist reveals the medium’s affinity to infrastructures present in nature. Corporeal capillaries and floral root systems are recalled with kaleidoscopic intensity in Bynum’s illuminated paintings. Abandoning the restriction of direct light, the artist utilizes the pure white light of flat-panel LEDs to illuminate acrylic through panes of tempered glass. Darkroom exhibition enhances the psychotropic experience of Bynum’s light-infused works.

Opposition dominates the work of Troy Simmons. Inspired by the dissonant relationship between man and nature, the artist explores possibilities for a stable coexistence of opposites. Recalling the emergence of vegetal growth from sidewalk crevices, Simmons’ sculptures juxtapose somber concrete and aluminum against vibrant splashes of acrylic paint. Echoing the artist’s fascination with nature and modern Brutalist Architecture, medium identifies Simmons’ works as contemporary manifestations of the 1960s Arte Povera movement, transforming foundational building materials into vessels of aesthetic creation. Dichotomous concept and medium serve as a physical investigation of what Simmons refers to as ‘incompatible binary relationships’. Deliberate and overt, such opposition knocks viewers off balance, resulting in a psychedelic experience of Simmons’ work.

Transgressing boundaries of traditional painting, Michael Laube unshackles the medium from the confines of space and time. Suspension of acrylic paint within sheets of plexiglass produce fluctuating highlights, reflections, and refractions incapable of absolute localization. The result: disembodied, dematerialized surfaces transformed by light. Inextricably woven into the surrounding space, Laube’s sculptural paintings exist beyond conformity to the definition of pure objectivity, capturing a spatial color effect reminiscent of Barnett Newman and Mark Rothko. Appearing to mutate and diversify, the hallucinogenic quality of Laube’s work encourages viewers to change perspective and experience the work from varying angles.

The Ethereal Stone

Presenting a dichotomy of weight and ethereality, the work of Schmitz-Schmelzer and Kränzlein transforms foundational building materials into delicate defiances of gravity. Employing wood and stone, the artists offer an extraordinary translation of cumbersome mass into ethereal buoyancy.

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Drawing inspiration from nature and ancient culture’s most elemental forms, Harald Schmitz-Schmelzer’s creations function as a contemporary manifestation of commonalities echoed universally throughout the ages. Through a technique evolved over years of experimentation, pigmented resin is poured in parallel or vertical layers onto a plywood-capped base of raw tropical wood. Marriage of the foundation’s natural variegations to the set resin’s now crystalline surface produces a Minimalist amalgamation of lacquered and matte, transparent and opaque, levity and weight.

Rejecting the common comparison to “3-D color stripes”, the artist cites diversity of chromaticity and translucency in his assertion of each layer’s existence as a sovereign entity. Undulating widths and hues lend a singular vitality to each layer, infinitely distancing Schmitz-Schmelzer’s creations from the monotony of homogenous stripes. In light of such variations, a likening to the sedimentation of geological formations serves as a more appropriate comparison.

The labor intensive process of Dieter Kränzlein belies the clarity and simplicity of his finished work. Carved from metamorphic and sedimentary rock, such as marble and limestone, Kränzlein’s sculptures are characterized by a remarkable lightness, a testament to the artist’s valorous conquest over the medium’s severity. Sourcing stone from steinbruchen (quarries) in the German town of Moos, Kränzlein exploits the material’s natural features by responding to its myriad of inherent imperfections. The result is a dynamic synthesis of organic and geometric forms, some possessing the crystalline delicacy of a snowflake, others the horizontal and vertical geometry of a grid.

Through repetition and variation of carving method, imperfections are transformed into compelling patterns and structures, responsible for granting each work its own unique rhythm. Multifaceted surfaces encourage the viewer to interact with the sculpture from different angles, to perceive new dimensions contingent on one’s position in relation to the work.

Utopia

Purely defined, Utopia signifies the idea of an alternate world or reality. Utopia can be an escape, a paradise, or an unobtainable dream in which the world operates in complete harmony. Without the use of visual representation, featured artists share their ability to transform canvas into another realm.

Featuring works by Sheila Giolitti, Lia Porto, Wardha Shabbir, Mari Ito, Jackie Cavallaro, Kim Minjung, and introducing Jane Ward.

 

I Never Promised You A Rose Garden

Jürgen Jansen‘s materials and techniques are anything but traditional. While listening to music – often inspiration for artwork titles- Jansen uses cloths, sponges, and even his hands to create these colorful abstractions. A finished work contains up to thirty layers of oil paint and mineral spirits, over which a high-shine resin coating is applied.

Jürgen Jansen lives and works in Dusseldorf, Germany.

I Never Promised You A Rose Garden is Jansen’s first solo show in the United States.