Kinescope Gallery in collaboration with Fillmore Projects is pleased to present Occurrences and Excavations, the first solo show in New York City by Albert Sunjoon Weaver which opens on Friday, October 12th, 6-9pm. The exhibition comprises a series of paintings which conjure abstract landscapes that exist between the vertical flat space found in Eastern paintings and the atmospheric deep space found in Western representations.
With parameters set at the beginning to keep aesthetics from determining the end result, Weaver starts with marks that reference forms found in nature. Weaver’s lifelong obsession with surfing informs his work; the ritual observation of the ocean’s kinetic nature is apparent despite the minimal palette of black and white. In keeping with Weaver’s guidelines, the square format retains a neutral identity preventing an immediate reference to landscape.
The paintings are created as a series, yet each painting exists entirely on its own. Weaver works to find the space between a finished painting and a painting that is still open and inconclusive. Texture conveys an expansiveness that goes beyond the small, square format. Despite the seemingly rigorous rules applied to this body of work, the outcome is beautiful, restrained, and hypnotic like the ocean.
Albert Sunjoon Weaver studied painting and received his Bachelor’s degree in studio art from UC Santa Cruz. He also studied painting at the New York Studio School and received his Masters degree in Painting from American University. He spent several years working and teaching as a visiting artist in Perugia and Rome, Italy for the American University Art in Italy Program. Born and raised in California, he now lives and works in Bushwick, NY.
Occurrences and Excavations, October 12, 2018 through November 18, 2018. Kinescope Gallery 616 East 9th Street (B/C), NYC.
Oil on panel
10 x 10 inches
Oil on panel
24 x 24 inches
Fillmore Projects is pleased to announce the opening on Friday, April 20th from 6-8pm, of Site: Sorel, the second solo exhibition by New York City based artist Maya Ciarrocchi. The exhibition is comprised of video, prints, 3D models and drawings.
Site: Sorel is a meditation on the real and imaginary spaces left behind by the dead. In this work, Ciarrocchi conjures an image of Barbara Sorel, an author and fixture of the 1990’s lesbian bar scene in New York City. Sorel, as she was called by her friends, sold drugs to support her writing and was tragically murdered in her East Village apartment in 1999. Some of her writing remains and an obituary appeared in the Village Voice following her murder. Apart from this and the memories of friends, she is largely forgotten by history. Combining these memories with Ciarrocchi's own, and by utilizing text from Sorel's self-published book Sorel in Love, the exhibition merges language with image to reveal where the two women's experiences intersect and collide.
As part of the exhibition there will be a performance event on Friday, May 11th from 6-8pm, comprised of readings of Sorel’s writing by those who knew her. These readings will lead to a broader discussion on the subject of art, success and the lesbian experience in New York City from the 1970’s to the present.
Maya Ciarrocchi is an interdisciplinary artist whose work has been exhibited at Abrons Arts Center, Anthology Film Archives, The Bronx Museum of the Arts, The Chocolate Factory, Gibney Dance, Microscope Gallery, New York Live Arts and Smack Mellon. Residencies include the Baryshnikov Arts Center, Lower Manhattan Cultural Council and the Ucross Foundation, and she has received grants from the Foundation for Contemporary Arts, Franklin Furnace Fund, Jerome Foundation, MAP Fund and Puffin Foundation. Ciarrocchi was a 2017 Bronx Museum Artist in the Marketplace and earned a MFA from the School of Visual Arts and a BFA from Purchase College.
Pull the Ankle and the Bobbin Will Fall, a Fillmore Projects collaboration with Kinescope Gallery, February 2 - March 18, 2018 www.kinescope.gallery
Comprised of animations, drawings, and paintings, this exhibition sees the artist continue her exploration of visual themes featuring recurring, fairy tale-like imagery. The show’s title, roughly translated, references a crucial detail from a 17thcentury French version of The Little Red Riding Hoodand as often with such classic tales, Weissglass’ work also ventures into dark territory.
Drawing is the major through-line in Weissglass’ work, her hand is evident throughout. Energeticallylayering and erasing, she creates rough, beat up surfaces only to ultimately yield delicate and decidedly feminine results.
Working without a storyboard and guided by intuition, her most recent animations are layered much like her drawings and paintings, reorganizingrecurring imagery to create entirely new stories.Familiar characters: a bear, birds, a chair, or the “shoe man” - all seem to have a past as she gives souls and personalities to these objects and creatures. Many mysteries remain, but by lifting the latch the door opens to reveal a magical entry into something unknown.
Fanciers, Fulfillment Centers, and Five Obstructions, June 3 - August 13, 2017 at nhà minh, Brooklyn, NY.
This work is from continuing series of drawings and paintings that use the existing vocabulary of New Yorker cartoon figures and objects (and themes) to construct problems and proposals of a perverted American vernacular. It's the product of a magpie approach to art making that is centered around salvaging what is nearby and putting things together in a better way. These new pictures feature female protagonists in various scenarios, usually confronting an obstruction of a sculptural nature.
