See Line Gallery » Past Exhibitions

Elizabeth McCord Paintings

admin — Fri, 30 Aug 2013 22:46:19 +0000

Lintel Landscape

Lintel Landscape,1971
Acrylic On Masonite
30 x 40 inches

ECgalleryview

Elizabeth McCord Paintings Gallery View

Venice Beach, 1957

Venice Beach,1957
Oil On Masonite
40 x 30 inches

Painting #10

Painting #10, 1975
Acrylic on masonite
20 x 24 inches

“Our own body processes are accessible to the direct experience of painting and this is the ‘message’… Painting is a balance of paint energy.”- Elizabeth McCord, 1981

See Line Gallery is pleased to present Elizabeth McCord Paintings, an exhibition of rarely seen and newly discovered paintings from the 1950s, 1960s, and 1970s by groundbreaking California modernist artist Elizabeth McCord (1914 -2008). It is the most in-depth examination of McCord’s work in nearly 20 years.

Elizabeth McCord was born in 1914 in Dayton, Ohio. From 1932 to 1934, she studied at the Art Institute of Chicago; after graduation, she taught at the Hull House, Chicago’s first social settlement. While participating in the Work Progress Administration (WPA) between 1939 and 1943, McCord created her first mature works, several of which were exhibited in 1940 at the National Museum of Art in Washington, D.C.

In 1945 McCord moved from Chicago to Los Angeles. Her paintings—colorful biomorphic and architectural abstractions that helped to shape California’s hard-edge movement of 1950s, were greeted with widespread acclaim, frequently appearing in shows at the Los Angeles County Museum of Art, the San Francisco Art Museum, the Long Beach Museum of Art, the Los Angeles Art Association, and the Art Center School of Design alongside works by Lorser Feitelson,
Helen Lundeberg, Josef Albers, June Wayne, and Knud Merrild, among others.

McCord’s paintings were uniquely poised at the intersection of Southern California’s thriving mid-century art, design, and architecture scenes. In 1951, McCord’s work was featured in LACMA’s cutting-edge exhibition, Painting in the USA; the same year, she participated in Six Portable Murals, a group show organized by the Los Angeles Art Association that advertised itself as a collection of paintings “designed especially for mid-century architecture.” “Painting,” a large McCord abstraction acquired by June Wayne and prominently displayed in Wayne’s Alvin Lustig-designed home, appeared on the cover of the Nov. 11, 1951 issue of The Los Angeles Times Home magazine in a color photograph by
Julius Shulman. Leading architectural critic Esther McCoy wrote the accompanying article

In 2011, the seeds of a McCord revival were planted when her Big Pink (1951; on loan from the Long Beach Museum of Art’s permanent collection) was the only painting chosen to appear in Living in a Modern Way, LACMA’s sweeping, celebrated survey of mid-century California design (which is currently traveling internationally). Big Pink was the only painting in the show.

Now, with a wide selection of rare and unseen paintings handpicked from family archives by curator Janet Levy, Elizabeth McCord Paintings both deepens and expands upon the ongoing—and long overdue—rediscovery and reevaluation of this seminal modernist’s work. The biomorphic, hard-edge forms of the 1950s give way, in the 1960s and 1970s, to paintings that blend looser brushstrokes with tighter geometrical masses yet continue McCord’s intensely personal, near-architectural exploration of “light and form”—a style she described in 1981 as “a pulsating surface superimposed over a cubist architecture with transparencies, arabesques and rectangular parches.”

“[I] mov[e] around over the canvas with color until something speaks to me, some discovery is made,” said McCord. “Then begins a long process of adjusting and destroying, adding and subtracting until the surface falls into place with a balance of movement and peace.”

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Cristopher CichockiEpicenter

admin — Fri, 22 Feb 2013 19:53:00 +0000

Cristopher Cichocki

Epicenter Gallery View

Cristopher Cichocki

Epicenter Entrance

Cristopher Cichocki

Central Division, 2013
Mixed media on panel
4 panels 16 x 16 inches each

Cristopher Cichocki

Synthetic Organism #1-18, 2013
Inkjet print on archival paper
20 x 16 inches

Cristopher Cichocki

Core/em>, 2013
mixed media on panel
48 inches

Cristopher Cichocki
San Andreas Division, 2012
Mixed media on panel
9 panels 16 x 16 inches each

Cristopher Cichocki
San Andreas Plate 2013
mixed media on panel
48 inches

Cristopher Cichocki
Frequency 2 2013
Enamel on mirror
36 inches

See Line Gallery presents the first Los Angeles solo exhibition from Coachella Valley-based artist Cristopher Cichocki, entitled Epicenter, including paintings, photographs and sculptures. Epicenter is curated by See Line Gallery owner and independent curator Janet Levy.

The Coachella Valley is a diverse Southern California desert region located along the San Andreas Fault Line, the “master” fault of an intricate network that cuts through California’s coastal region. Epicenter investigates the ephemeral nature of the San Andreas Fault as an existential meditation of time and space in constant flux.

Epicenter showcase’s Cichocki’s ongoing body of work, which spans eight years and explores, intervenes, and comments on the Salton Sea and other desert regions. An extension of his studio, the open desert becomes the setting for momentary installations, paintings and sculptures, which he further frames through photographic fragmentation. Through gestures of immediacy and raw materiality, Cichocki promotes an awareness of interconnection between continually shifting elements above and below the surface of everyday perception. “Post-Earthwork” landscapes, topographies and micro worlds are brought forth within a palate of acidic neon contrasted by arid earth tones and textures. Within his “San Andreas Series” Cichocki has painted highly textural mixed-media panels reminiscent of cracked asphalt and desert earth which simultaneously suggest satellite topographies, both earthbound and planetary. Sculpturally Epicenter yields neon orange branches emerging from rusted steel foundations in combination with living cacti transplanted into cinder blocks. Cichocki will also present his ”Synthetic Organism” photographs, a large series of circular cropped prints abstracted from decaying desert terrain. The perception of Cichocki’s painting and photographic works oscillate between telescopic and microscopic. A visual archetype permeates throughout Epicenter, illuminating nature as a symbiotic system of chain reactions.

Cristopher Cichocki was born in 1979 in Charleston, Ill., and received his BFA in 2001 from California Institute of the Arts. Palm Springs Art Museum selected him as its 2013 Artist In Residence. From July to September, the museum will exhibit his solo installation, Desert Abyss: Cycle in Cycle. Other recent exhibitions include: ROJO® NOVA Casa Franca Brasil, Rio de Janerio, Brazil; Time Based Art Festival, Portland Institute of Contemporary Art, Portland, Ore.; Full Pull, Inter Arts Center, Malmö, Sweden; ROJO® NOVA, Museum of Image and Sound,
Sao Paulo, Brazil; Remains in the End Times.

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Epicenter appeared first on See Line Gallery.

Blended

admin — Fri, 09 Nov 2012 00:09:14 +0000

Installation View

Installation View

Installation View

Dave Müller
Installation View

Tito Fuentes
Installation View

Brian Butler
Night of Pan, 2012
Video Still
19.5 x 29.5 inches
Edition 1 of 5

Nathan Bell
Love Is Real, 2012
Ink on archival paper
29 x 21.75 inches

Yasmin Than
SQUINT n.1 (hotel), 2012
Photo Collage
28 x 21 inches

Yasmin Than
Io Echo (Beach) n.2, 2012
C-print
15 x 10 inches

Eddie Ruscha
GO BANG! 1, 2012
Acrylic, ink, glitter on canvas
38.5 x 38.5 inches

Eddie Ruscha
7 and 7 is, 2013
Acrylic on canvas
16 x 12.25 inches

Brian Roettinger
Objective creation in the silent hope that the resulting product will eventually be looked upon as art, 2012
Ink on canvas
8 x 10 inches

Corey Fogel
Vizcaya, 2013
Mixed Media
Dimensions Variable

Blended, curated by Janet Levy, brings together artists that intermix diverse disciplines inspired by music, exploring the relationship of music and visual art. Their musical influences are expressed in various mediums including drawing, photography, collage, works on paper, painting, sculpture and installation.

Nathan Bell’s drawings are strongly influenced by pop culture and music, he recently collaborated on a t-shirt with the band Divine Fits. Brian Butler is an artist, filmmaker and musician, he is the lead guitarist for Technicolor Skull a collaboration with Kenneth Anger and recently directed Black Lips “Modern Art” and Divine Fits “Would That Not Be Nice” videos. Corey Fogel presents performance and sculpture using sound, objects, textile and food; he is a drummer currently working with Julia Holter. Tito Fuentes is a founding member; guitarist and vocalist of the Mexico City band Molotov. His collages and photography pieces are reminiscent of earlier surrealist works. Dave Muller is an artist and DJ whose works on paper present a dialogue about his musical interests through depictions of albums from his collection of thousands.
Brian Roettinger’s gateway into design was through his early fascination with album artwork. He owns the record label Hand Held Heart and amongst others, collaborates with the band No Age. Eddie Ruscha is a visual artist and a musician/DJ known as Secret Circuit. He has released many albums under many different aliases and has been involved in many art shows around the world. His visual work is deeply affected by music and vice versa.
Yasmin Than is influenced by the darker side of indie rock, apparent in her collages and photography of the band IO Echo.

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Wild Thing

admin — Thu, 01 Nov 2012 04:57:51 +0000

Installation View

Installation View

Jordan Eagles
Installation View

Jordan Eagles
URBC5, 2011
Blood, copper, preserved on plexiglass, UV resin
48 x 48 x 3 inches

Ashley Macomber
Installation View

Ashley Macomber
Bobbi with Cactus, 2012
Watercolor, gouache and pencil on paper
17 x 16 inches

Eric Yahnker
Fingering (Tapioca Snack Pack), 2009
Graphite on paper
40 x 52 inches

Anna Fidler
Woldfman 1, 2012
Acrylic, colored pencil on paper
20.5 x 15.75 inches

Angeline Rivas
Omnioverdrive, 2012
Ballpoint pen on paper
30 x 22 inches

Adam Tullie
NWO II, 2012
Graphite and ink on paper
11 x 15 inches

Amber Ibarreche
Famous Paintings, 2012
Collage
10.25 x 7.25 inches

Jonathan Apgar
Ware the man who fakes a limp, 2012
Oil on canvas
18 x 14 inches

See Line Gallery presents Wild Thing a group exhibition curated by Janet Levy introducing artists that expose the provocative allure of being wild. The diverse works showcase elements of pushing boundaries, the free spirit and venturing into the unknown. The exhibition includes sculpture, painting and works on paper by:

Jonathan Apgar,

Jordan Eagles,

Adam Tullie,

Eric Yahnker,

Angeline Rivas,

Anna Fidler,

Ashley Macomber,

Amber Ibarreche

Jonathan Apgar works without any predetermined end. When there is something that happens within a painting that makes him feel uncomfortable, if it feels risky to present to someone or he is exhilarated by a feeling of getting away with something, he knows he is venturing in the right direction. Jordan Eagles has been using preserved animal blood, procured from slaughterhouses, in his signature, multidimensional works for over a decade. Through his experimental, self-invented process, the artist applies blood to layers of clear plexi-glass and then permanently preserves the organic material with layers of resin, allowing the high-gloss surfaces to suspend the fluid forms. Portland based Anna Fidler presents works from her series Vampires and Wolf Men which seeks to create a myth surrounding characters of the past. Her images are sourced in part from photographs found at the Oregon Historical Society, and include portraits from families both prominent and unknown. Fidler’s decisions to use specific individuals were based purely on facial expressions and features that could be interpreted as mysterious, haunting or strange. Amber Ibarreche is using appropriated imagery moving objects from one place to the next in an unrestrained manner. Ashley Macomer’s new series of paintings uses images of women from hard-core pornography as its source material. Using collage and shifts in scale, these highly sexualized representations of women interact with images taken from nature that become the subject for the paintings. She sees the paintings as experimentation within the power dynamic inherent in these images and the possibility of reabsorbing that power into a new concept of the feminine. Angeline Rivas’ new works are celestial road signs and artifacts from a timeless place. They address a new reality where advanced technology is being used for degenerate human needs. Adam Tullie has created a new series of drawings built from the repetitious study of a single, subtly evolving motif resembling the human eye. Exploring the notion of the viewer viewing the artwork, with the artwork viewing the viewer, Tullie work engages the audience with an optical see/saw effect. Los Angeles based artist Eric Yahnker conflates artifice and authenticity to construct a poetic and perverse exposition of the American condition. Outwardly refuting moral and political decency in favor of comic rationality, Yahnker employs absurdity to assault absolutism.

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MoTA Museum of Temporary Art

admin — Tue, 16 Oct 2012 23:26:03 +0000

Installation View

Installation View

Installation View

Installation View

Installation View

Installation View

Thomas Müller
Let Loose the Lions, 2012
Clay and glaze
Dimenisions variable

Matt MacFarland
March, 2012
Polyurethane resin, selected trash
11 x 18 x 11 inches

Deanne Cheuk
Milkyway 01, 2012
Charcoal on Paper
10 x 10 inches

Jow
Fade to Black, 2012
Ink on vintage letterhead
7 x 9 inches

See Line Gallery presents Museum of Temporary Art curated by Janet Levy, an evolving group exhibition in homage to Janet Schmuckal and MOTA wherein the artists reference time, space and temporariness. The exhibition includes works on paper, posters, monoprints, photography, objects, collage, video, painting and sculpture.

MOTA was a pioneer alternative venue for the arts between 1974 and 1982 located in Washington, DC. Founder Janet Scmuckal was the heart and soul of MOTA during its existence. MOTA was a cultural museum, a multi-media press, a community arts program, a small press collection and a multi-media performance space. Participating artists include:

Nathan Bell,

Jesse Benson,

Scott Benzel,

Travis Boyer,

Matthew Brandt,

Deanne Cheuk,

Michael Coleman,

Chris Eichenseer,

Jared Eberhardt & Cody Hudson,

Alexandra Grant,

Katherine Gray,

Matthew Greene,

Edgar Heap of Birds,

Wendy Heldmann,

Matthew Hoffman,

Chad Kouri,

Jow,

Karen Lofgren,

Matt MacFarland,

Christian Morin,

Thomas Muller,

Eamon O’Kane,

Zack Stadel

In conjunction with the Museum of Temporary Art, curator Janet Levy will assemble a pop-up Janet & Janet Shop For Your Art space at 6020 Wilshire Blvd. August 24 – 26, 2012.

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Lesley Moon

admin — Tue, 16 Oct 2012 23:21:37 +0000

Installation View

Installation View

Installation View

Installation View

See Line Gallery presents Framed for Life, a solo exhibition by Lesley Moon. Within the exhibition, the artist creates a large-scale installation as incomplete playing field, possessing an idiosyncratic and erotic combination of material game pieces and linguistic signs. Incorporating a fractured checkerboard of mirrored tile containing a variety of found objects and diorama-like scenes, Moon outlines a territory that at once elicits sensibilities of glamourous refusal and melancholic irony. On display will also be a series of unique photograms which record repetitive, patterned gestures made by the artist’s body, continuing the artist’s interest in the various relationships between self-representation, desire and the photographic medium.

Framed for Life (Limerence)
Lesley Moon will present a second iteration of her installation, Framed for Life: Limerence. Simultaneously a continuation and re-visioning of her exhibition, the artist will open up a psycho-spatial circuit of call and response by acting upon the existing game board that meanders through the gallery. As Moon adds onto and augments the original installation, notions of entropic lust, regeneration, originality, object attachment and reformation mix together, sublating the impossibility of fixed romance and desire into a warped theatrical stage.

Lesley Moon is an artist and writer, born in Santa Monica, CA. Before studying Art and Comparative Literature at UCLA, she worked as a commercial photographer taking pictures and cataloguing old Hollywood ephemera and rarities for an associate of Sotheby’s. In 2006, she co-founded Deixis, an occasional journal for intersections of art and text. She worked with artist Mateo Tannatt to produce 2008’s Boofthle Booth-Booth: Deux Doox – The Hollywood Biennial at the Pauline Gallery, and she was a part of New Atlantis Enterprises, a collective founded by artist Piero Golia. In 2010, her public project, a large-scale photographic mural entitled The Golden Veil (Et in Arcadia…), was installed at the 7^th and Fig Ernst & Young Marketplace in Downtown Los Angeles as a part of Mind Frames, curated by Janet Levy. Moon’s first solo project, Tortoise-On-Domino, opened at workspace in March 2011 and most recently she curated On Forgery with Andrew Berardini, the first group exhibition to be held at LAXART. She has exhibited at the Frederick Gallery, Five Thirty Three, Workspace, LAXART, Cirrus Gallery and See Line Gallery.

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Lesley Moon

admin — Tue, 16 Oct 2012 23:18:35 +0000

Installation View

Installation View

Installation View

Installation View

Installation View

Installation View

Installation View

Homage to Youthful Labors, 2012" />

Homage to Youthful Labors, 2012

2 metal hooks, wire basket, found collection,
child’s chair
Dimensions variable

This Is A Line, 2012" />

This Is A Line, 2012

2 rubber bands, feather boa
Dimensions variable

Edie's Hands and Rubberbands I-IV, 2012" />

Edie's Hands and Rubberbands I-IV, 2012

Laser print
36 x 48 inches

Empirical Empires, 2010" />

Empirical Empires, 2010

2 solarized photograms
Each 16 x 20 inches

The Sun Sometimes Rises, 2012" />

The Sun Sometimes Rises, 2012

Three handkerchiefs, brass tacks, paint, smoke
Dimensions variable

Dear _________,
You Did It! (After 21 Jump Street), 2012" />

Dear _________,
You Did It! (After 21 Jump Street), 2012

Found poster, mixed media
40 x 27 inches

Kulture (Cuts with a Knife), 2012" />

Kulture (Cuts with a Knife), 2012

Laser etched acrylic, 2 screws
18 x 24 inches

See Line Gallery presents Framed for Life, a solo exhibition by Lesley Moon. Within the exhibition, the artist creates a large-scale installation as incomplete playing field, possessing an idiosyncratic and erotic combination of material game pieces and linguistic signs. Incorporating a fractured checkerboard of mirrored tile containing a variety of found objects and diorama-like scenes, Moon outlines a territory that at once elicits sensibilities of glamourous refusal and melancholic irony. On display will also be a series of unique photograms which record repetitive, patterned gestures made by the artist’s body, continuing the artist’s interest in the various relationships between self-representation, desire and the photographic medium.

Lesley Moon is an artist and writer, born in Santa Monica, CA. Before studying Art and Comparative Literature at UCLA, she worked as a commercial photographer taking pictures and cataloguing old Hollywood ephemera and rarities for an associate of Sotheby’s. In 2006, she co-founded Deixis, an occasional journal for intersections of art and text. She worked with artist Mateo Tannatt to produce 2008’s Boofthle Booth-Booth: Deux Doox – The Hollywood Biennial at the Pauline Gallery, and she was a part of New Atlantis Enterprises, a collective founded by artist Piero Golia. In 2010, her public project, a large-scale photographic mural entitled The Golden Veil (Et in Arcadia…), was installed at the 7th and Fig Ernst & Young Marketplace in Downtown Los Angeles as a part of Mind Frames, curated by Janet Levy. Moon’s first solo project, Tortoise-On-Domino, opened at workspace in March 2011 and most recently she curated On Forgery with Andrew Berardini, the first group exhibition to be held at LAXART. She has exhibited at the Frederick Gallery, Five Thirty Three, Workspace, LAXART, Cirrus Gallery and See Line Gallery.

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Ground Control

admin — Tue, 16 Oct 2012 23:15:30 +0000

Ed Fella

Ground Control, 2011

Installation View

Jim Skuldt

Study for NEW NEW ICELAND, Tundra Transplanter, an Extraction from the OLD NEW ICELAND (Left Nut), RIP, 2011
Metal found object
23 x 20 x 67 inches

Charlie Becker

Hang in there, 2011
Aqua-resin acrylic, steel, cotton
aerosol & acrylic paint
Dimensions variable

Ed Fella Installation, 2011

Katsuo

Awareness, 2011
Acrylic on wood
48 x 32 inches

Kim Anno

Men and Women in Water Cities #4, 2010
Edition 1 of 8, Inkjet print
22 x 15 inches

Nathan Bell

Note to self, 2011
Ink on paper
90 x 36 inches

Johanna Jackson

Phases of the Moon, 2010
Wool
57 x 40 inches

Ed Fella

Untitled Collage 18
Mixed Media
8.5 x 11 inches

Ed Fella

Untitled Collage 14
Mixed Media
8.5 x 11 inches

Shiva Lynn Burgos

Internal History, 2010
Water color pen, graphite, and oil pastel
on paper
16.5 x 11.7 inches

John Divola

N34°11.642’W116°06.663, 1995-98
Edition 5 of 8
30 x 30 inches

Marie Thibeault

Voice, 2010
Oil on canvas
30 x 34 inches

Kevin Earl Taylor

Polar Bear, 2010
Oil on panel, framed
27.5 x 41.25 inches

Taras Matla

Sometimes, if the air in the low pressure system aloft is cold enough, the inversiton that defines the top of the marine layer will dissipate and so will the marine layer, 2011
Graphite on paper
30 x 22 inches

See Line Gallery presents Ground Control, a group exhibition curated by
Janet Levy and Niki Livingston including sculpture, painting, photography and works on paper by:

Kim Anno,
Nathan Bell,
Charlie Becker,
Shiva Lynn Burgos,
John Divola,
Ed Fella,
Christopher Haun,
Johanna Jackson,
Katsuo,
William Lemon lll,
Taras Matla,
Jim Skuldt,
Kevin Earl Taylor,
and Marie Thibeault

The artists’ works in the Ground Control exhibition reference environmental awareness in a contemplative and also hopeful manner. The exhibition features legendary artist, educator and iconoclastic designer Ed Fella’s rarely seen masterful collages. These collages, created exclusively for Ground Control, are constructed of bits and pieces collected directly from the streets of Los Angeles. This presentation is significant as it is the first time showing of Ed Fella’s artwork outside of the museum setting and in a gallery exhibition.

Our environment is not only the air, water, minerals, organisms, and all other external factors surrounding us at any given moment, but also the social and cultural forces that shape the life of a person or a population. We are currently in a continual struggle with man’s need to exercise dominion over an ever-expanding territory and the detrimental side effects of this obsession with control and consumption. With rising awareness to the obvious changes occurring to our climate and the immediate consequences felt by humanity world wide, one would expect to find artistic translation that speaks to the immediacy of this climacteric event. With Ground Control, the curators have selected a diverse representation of artists that subtly draw the viewer’s attention to this ever-evolving story.

Janet Levy is a curator and gallery founder/director born in Los Angeles, CA. She presented her first curatorial project in Luzern, Switzerland in 1990 and brings years of curatorial, gallery and marketing experience to her success in producing and promoting significant projects by prominent contemporary artists. Levy has demonstrated an extraordinarily intuitive ability for selecting talented visual artists and,in 2006, she founded See Line Gallery, an exhibition space dedicated to supporting the work of these exceptional contemporary artists.

Niki Livingston is a curator and Creative Director living in Los Angeles. In 2001 she joined forces with Kime Buzzelli in the creative space and later avant garde boutique Show Pony. By the end of 2005, she ventured out on her own to expand into event production and freelance curatorial advising, as well as taking the creative helm at the iconic contemporary art t-shirt company 2k by Gingham.

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Silver Lining

admin — Tue, 16 Oct 2012 23:13:58 +0000

Installation View

Kathryn Van Dyke

Knowing me, Knowing you 4, 2010
Installation with mirror and microfilament
7 x 7 x 7 inches

Kathryn Van Dyke

Silver Lines-Split, 2001
Oil on Linen
36 x 44 inches

Kathryn Van Dyke

Installation with honey spectrum, 2011
Oil and enamel on canvas
12 x 18 inches

Robert Billings

Tower of Power, 2003
Sterling Silver
7 x 2.75 x 2.75 inches

Robert Billings

Give Me Liberty, 2003
Sterling Silver
3.75 x 2.75 x 2.75 inches

Robert Billings

Give Me Liberty, 2003
Sterling Silver
3.75 x 2.75 x 2.75 inches

Robert Billings

Paradise Lost, 2003
Sterling Silver
3.5 x 2.5 x 2.25 inches

Robert Billings

My Kingdom 4 a Horse, 2003
Sterling Silver
3.75 x 2.75 x 2.5 inches

Laurie Reid

Cry, Baby, 2008
Crushed silver mirror on paper
15 x 15 inches

Laurie Reid

Cry, Baby, XXXV, 2008
Crushed silver mirror on paper, Diptych
Each 10 x 40 inches

Laddie John Dill

Light Trap 1, 2011
Welded and polished aircraft aluminum
12 x 24 inches

Joe Goode

Study for Oil and Water painting #2 , 2001
Charcoal power on paper
11 x 15 inches

Jimi Gleason

White Light, 2011
Silver Deposit, Acrylic on canvas
14 x 24 inches

Michelle Grabner

Untitled, 2011
Silverpoint in panel
12 inch diameter

See Line Gallery presents Silver Lining, a group exhibition curated by Janet Levy that includes sculpture, painting, works on paper and installation by:

Scott Benzel,
Robert Billings,
Laddie John Dill,
Jimi Gleason,
Joe Goode,
Michelle Grabner,
Jay Lizo,
Karen Lofgren,
Yogi Proctor,
Laurie Reid,
Kathryn Van Dyke

Silver is the metallic shade that resembles gray. The visual sensation usually associated with the metal silver is its metallic shine, which is due to the material’s brightness varying with the surface angle in relation to the light source.

A reflection on a cloud which has a silver gleam of sunlight along one edge, the ‘silver lining’ to the cloud caused by light when the sun is just behind it causes the top layer of the cloud to look lighter, as it is thinner and less dense than the rest of the cloud.

All artists in the exhibition have selected materials for their works that are silver or have the appearance of reflective silver. These materials are used to engage and manipulate light, which the collective works combine information to immerse the gallery in a reflective glow. Laddie John Dill welds and polishes high-grade aircraft aluminum to manipulate light to create volume and movement on the surface. Joe Goode creates a sense of light and reflection with his pastel drawings. Robert Billings makes intricate and detailed silver sculptural pieces. Scott Benzel creates shiny silver plated aluminum sculptures. Jimi Gleason employs silver deposit in his luxurious silver painting. Laurie Reid applies crushed silver coated mirror on paper. Michelle Grabner makes elegant use of silverpoint in panel. Jay Lizo uses a metallic paint on flattened sphere sculptures. Yogi Proctor transforms window space with silver tinted two-way mirror vinyl. Karen Lofgren works in cast aluminum as the basis or her assemblage. Kathryn Van Dyke utilizes the play of light with mirror pieces in her hanging sculpture.

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Diamond Dust

admin — Tue, 16 Oct 2012 23:07:28 +0000

Installation View

Shahla Kareen

Crosby Roof, 2010
Inkjet print
30 x 30 inches

Katherine Gray

Hearth, 2011
Glass, MDF, resin
18 x 24 x 11 inches

Raif Adelberg

I'm Not Perfect, 2011
Mixed Medium
20 x 24 inches

Nicolau Vergueiro

Salome's last Dance- Forgotten Silver, 2010
Nishijin-ori brocade, fabric, heat-transfer paper, antique trim, batting
38 x 27 inches

Raif Adelberg

Shattered Image, 2011
Mixed Medium
20 x 24 inches

Jenny Le

Fractured, 2010
C-print on aluminum
16 x 16 inches

Rachael Neubauer

Untitled (Still life 000), 2011
Mixed media
Dimension variable

Rachael Neubauer

Untitled (Diamond Moon), 2010
Urethane, lacquer, sequins
18 inches

Natascha Snellman

Leschi (Autograph 2 parts), 2010
Marble, neon
14 x 14 x 32 inches

Joesph Lee

Composite Setting, 2011
24 mixed media collages
Glass and aluminum

Colin Roberts

Bubble wrap Cube, 2011
Clear urethane
10 x 10 x 10 inches

Lesley Moon

Smoothie 5, 2010
Lightjet print
14 x 11 inches
Edition 1 of 5

Lesley Moon

Smoothie 8, 2010
Lightjet print
14 x 11 inches
Edition 1 of 5

See Line Gallery presents Diamond Dust, a group exhibition curated by
Janet Levy including works by:

Raif Adelberg,
Chad Attie,
Katherine Gray,
Shahla Kareen,
Jenny Le,
Joseph Lee,
Lesley Moon,
Rachael Neubauer,
Colin Roberts,
Natascha Snellman,
Nicolau Vergueiro

Within the context of Diamond Dust, works unveil the juxtaposed relationship between everyday objects and their reflection against mesmerizing abstraction.

Utilizing a diverse range of carefully crafted materials and techniques, the works included in Diamond Dust draw from printed imagery, images of daily life and everyday objects. The works are executed in diverse materials, from magazine images to fabric, glass, resin, urethane and photography.

Each of the artists in the show shares a fascination or obsession with an idea or object which engages in a sense of mystique meant to captivate. Through mesmerizing sparkle, shiny materials, light, reflection or altered forms, each work urges us to consider our relationship to formalism and the alteration of form.

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