Black & White Gallery is proud to present Mirror of Our Obsessions & Fears. Paintings and sculpture in this group show are on the edge between dreams and waking between reality and imagination. They are a powerful emotional experience, a mirror of our obsessions and fears, of our dramas great and small. They are like hallucinations which, showing something inexistent, allow us to perceive something more real than reality.
Chaos, confusion, the beautiful and the sublime are all key components of my work. Kant describes the sublime as that which arouses enjoyment but with horror. He talks about how excitement and fascination are sometimes accompanied by a sense of dread. I want my paintings to have the power to excite the viewer but perhaps with a slight shudder; a sublime shudder.
Godfrey describes his activity as lying somewhere between “comfortable and impossible”.
"Although Godfrey's sculptures are abstract, they do have a distinct organic quality and the suggestion of the cellular quality. Each piece is a network of components, not a monolithic structure. "People mistake the work to be about monumentality. Size is important, but it does not have to be gigantic to work", Godfrey observes."
Megan Heuer, ARTnews, July'05, "The Incredible Lightness of Steel".
Lauren Luloff’s paintings are maps of personal, emotional and intellectual experiences. Luloff unleashes a cacophony of color and texture to create her sophisticated, energetic paintings. A skin tight surface is required for the processes she enacts, so she primes each bed sheet she uses as canvas with several layers of rabbit skin glue and stretches it as if an animal skin on rough frame-like stretchers.
"Abstract painting contains powerful limitations and extraordinary freedom. Great abstract paintings can be the result of a tremendous condensation of information. ... What does it mean, "abstract"? Does it mean to abstract from something—to start with an image and transform it into essentials, like Mondrian’s tree series? Maybe it means some kind of freedom from the image so we can get directly to the serious part and not get lost in apples or nipples. Maybe it means the big idea itself—painting as physics or philosophy. Maybe it means to be purified or to be closer to concrete essences"...
Everything is Finished Nothing is Dead: An Article About Abstract Painting
by Chris Martin, April 2003, The Brooklyn Rail
Andrew Piedilato’s large-scale abstract canvases begin with a simple object and end with an act of discovery. Scanning the rich surface of the canvas our eyes can trace the energy of a swirling line, only to get lost in muddy recesses, and be pulled out again by a beacon of electric color. Piedilato’s risk-taking methods open the work to chance allowing the possibility of something new to happen.
Theme that often occurs in Jonas Pihl's work is the aspect of melting together certain paradoxes, and this theme is often immanent in the very way the artist works with painting. For example when he randomly pours enamel paint on the canvas, lets it flow in turbulent forms and afterwards takes a photo of the splash, projects it onto the canvas and then meticulously paints it again, random transforms into determinism, chaos amalgamates with cosmos and becomes ”Chaosmos”, to use a Deleuze term.
I make objects and displays which inhabit a material and epistemological terrain somewhere in between abstraction and representation. Small, super-detailed sculptures evoke the familiar through corporeal allusion while maintaining a concurrent aloofness to categorical propriety. This effect is compounded by a shifting sense of play involving whatever inertia these objects maintain as abstractions, and the tendency of the surrounding display components (wall diagrams, found objects, photographs, and explicatory didactics, etc.) to coax these abstractions into the terrain of real (albeit competing or hybridized) taxonomical systems.