Joy Machine is pleased to announce its second exhibition, And then there was everythingwith works of Paul S. Briggs” David Cass” Laura Catherwood” Yellena James” Jeremy Miranda” Jeffly Gabriela MolinaAnd Anna Ortiz. An opening reception will be held from 6 pm to 9 pm on April 18.
And then there was everything Disinte its name to the opening rule of Richard Powers novel The superfluousThose readers beckons in a winding, interconnected story that is tailored to the intimations of the trees. Powers writes that ‘a good answer must be reinvented many times, all over again’, a sentiment that every artist examines in a unique way through painting, ceramic sculpture and collage. Irish on natural motives, use these artists of our personal and collective psyches to excavate the recurring messages.
Rendering the well -known unknown has long been a way to investigate the overlooking and hidden emotions, and every artist presents apparently common subject as an invitation to pause and look inside.
In the leaf vessels of Briggs, repeating motives are crucial to achieve equanimity. The artist uses a technique that he calls and works and works in a “very assertive but tendering process”. From a single ball of clay, he squeezes small, dynamic leaves around the vessel walls while finding a meditative balance in both his mind and the sculptures themselves.
Although he works on an intimate scale, Cass zooms out while he zooms up wavy waves on antique cans, match boxes, pulleys and more, a collection of 14 is installed on Joy Machine. Visible paint leaves sketch the horizon in some pieces, while others are completely flooded in curved lines. Interested in transferring the effects of a heating planet and rising waters, uses Cass recycled, people made by people who are representative of physical limitations such as metaphors for our collective limits to adapt.
In the seductive canvases of James Morsen dense ecosystems from edge to edge. Striving for a perfect balance that becomes ‘a kind of compulsive meditation’, the artist paints delicate, alien environments that suggest both land and the sea. Catherwood lingers in the same way in uncertainty, because she displays hybrid creatures with fantastic motifs. Painted with soft, tender brush strokes, the arresting creatures become welcome companions to explore the mysteries of life and adapt to his cycles.
Ortiz also calls for the creepy in “Reflexión”, a desert landscape strewn with a few agave plants under an eclipse that is reflected on Lake Texcoco. The saturated, limited color palette makes the time of the day ambiguous and helps to set up a surrealistic border area in which the now dried one still exists. Ortiz mixing memory and imagination, draws from its own ancestral connections and positions the twinagaves as a way to consider unfulfilled destination.
Miranda and Molina struggle with similar questions when they use memories of moments and spaces. Observation is the core of the works of Miranda and he uses the essential qualities of light to reduce well -known spaces. In his hands, an inconspicuous bag of forest or modest bonfire becomes dreamy, which causes questions from perspective and how we understand our relationships with the institutions that surround us.
For Molina there are a flutter of yellow butterflies and a mirrored parrot symbols of connection and care. The brightly colored insects accompany a portrait of the artist’s mother as a child in “Mother our castles will not be made of sand”, while “To Misericordia” conjures up a place. A poem that is registered in the work is: “… and do you know that glitter and gold have fallen out of fashion, and that your parrot no longer remembers?”, What refers to the pet of Molina’s great -grandmother and the ways in which companions are forming to the self.
And then there was everything can be seen from April 18 to June 7. RSVP to the opening reception here.
