Edit: Last chance to see the Chelsea show: Tuesday, Wednesday and Thursday from 11 to 6 are your last opportunities to see the panoramas on the wall. We are taking the show down on Friday, August 15, and I have no future shows lined up yet.
I am excited to announce that I have found gallery representation: 532 Gallery Thomas Jaeckel (532 W 25 St) really liked my art and decided to represent me for the foreseeable future.
And even better, he is opening a group show on June 26 that runs until August 15 with me, Richard Roth and Carol Salmanson, titled INCANDESCENT. So, if you are in town, swing by the gallery and see my art in person. The opening reception is on June 26, 6-9pm. Hours:
Here are the 9 panoramas I will show:
All three of these artists deal with architecture and its relationship to anthropomorphism. Buildings may not look like human beings, but they mimic our consciousness in that they project light from within, or have some innate sensory rapport with the immediate natural environment.
Joergen Geerds is an urban photographer, but there is nothing gritty or tough about these images, which portray the city as if it were the very horizon itself, stretching into infinity with every streetlight or desk lamp projecting like a star in the firmament of near-heaven, and all the light combining to fill the liminal edges of every building, so that despite a night shot there are no shadows. Though he uses the hyperbolic style of a 360-degree shot, Geerds has chosen such a timeless and immutable subject that his perspective never seems more important than its theme.
Richard Roth’s sculpture has its roots in the Constructivist forms of Naum Gabo or Eli Lizzitsky, but it also resembles a human spine or the waving sails of a tall ship. Its central plinth throbs with white light that then travels along the glass extensions creating a very interior illumination which nonetheless inhabits a very external, open, and urban space like that within business districts in which glass canyons ironically reflect a socially demarcated territory of corporate agendas.
Carol Salmanson also creates structurally sublime forms which are resplendent in the depiction of incandescent projections, slight intimations of an interior reality, a brooding and minimal presence that links the LED lights on household appliances to the neon signs of a once seedy and now family friendly Times Square. Out of the darkness, a necessarily voluble depth, her lights are signals leading us into esthetic symmetry.