VON LINTEL GALLERY | LA: DRIVEN TO ABSTRACTION

Showing posts with label DRIVEN TO ABSTRACTION. Show all posts

Friday, June 10, 2011

DRIVEN TO ABSTRACTION | GROUP SHOW: Opening Photos S-Z

REBECCA SMITH:

DANNIELLE TEGEDER:

CANAN TOLON:

CARRIE YAMAOKA:

DRIVEN TO ABSTRACTION | GROUP SHOW: Opening Photos A-H

ANDREA BELAG:

LISA CORINNE DAVIS:

AMY ELLINGSON:

CATHERINE HOWE:

DRIVEN TO ABSTRACTION | GROUP SHOW: Installation Shots

Thursday, June 9, 2011

DRIVEN TO ABSTRACTION | GROUP SHOW: CARRIE YAMAOKA

Carrie Yamaoka
30 by 13, 2010
mylar, urethane resin and mixed media on wood panel
30 x 13 inches

Driven to Abstraction
Featuring work by

Andrea Belag

Lisa Corinne Davis

Amy Ellingson

Catherine Howe

Rebecca Smith

Dannielle Tegeder

Canan Tolon

Carrie Yamaoka

June 9 – July 23, 2011

Opening reception: Thursday, June 9, 6 – 8 PM

CARRIE YAMAOKA

STATEMENT

My work runs a certain gamut of form, riding a fine line between painting and sculpture. I have been working with a ground of reflective silver mylar film, encapsulated in layers of resin for the past 15 years. The resin is sometimes tinted with color, sometimes clear. A piece may hang on the wall like a painting; at other times it may start on the wall and drape down onto the floor, extending into the room—becoming more of a sculptural entity. My interest in the almost alchemical qualities of process, chemistry and photography have led me away from traditional painting media and towards the use of unconventional materials.

Process and a controlled negotiation with chance play a central role in the way that I make the work. Air bubbles, and tiny bubbles created by the curing resin form a layer of incident forged in the making of the piece. Imperfections punctuate the surface and become information to be taken in. I am interested in the mutability of materials, color and light.

Photographs of the work can be misleading– there is no painted image. My work is emptied of pictorial content, but full of incident. Because I am working with a reflective ground, the image or picture arrived at, in any given moment, is contingent upon the viewer’s stance in relation to the work, and her/his navigation through the space that the painting occupies and reflects. The picture is not static; it is constantly shifting. The viewer makes and re-makes the picture(s) from the conditions that I’ve set up. The viewer becomes both subject and object. Or, the viewer within the space in which the piece is being viewed, becomes the subject. To extend that idea further, the exigencies of how one views and interacts with the work becomes the subject.

CARRIE YAMAOKA
Bio

Wednesday, June 8, 2011

DRIVEN TO ABSTRACTION | GROUP SHOW: CANAN TOLON

Canan Tolon
Untitled, 2011
oil on canvas
20 x 16 inches

Driven to Abstraction

Featuring work by

Andrea Belag

Lisa Corinne Davis

Amy Ellingson

Catherine Howe

Rebecca Smith

Dannielle Tegeder

Canan Tolon

Carrie Yamaoka

June 9 – July 23, 2011

Opening reception: Thursday, June 9, 6 – 8 PM

CANAN TOLON
STATEMENT

Space is the main subject in my work. I am interested in the way we visualize it, the way we treat it, politicize, imagine, and remember it. I use a technique that is as random as it is premeditated and studied. My paintings are formally as precise, rhythmic, and structured as they are evasive, accidental and fluent. Although I do not use print or collage, I use a technique in my paintings that imitates photographic prints, using tools like straight edges and knives to produce an effect of instant reality, where evidence alluding to places and events are implied. It is only upon closer inspection that the “photographic reality” falls apart, and the painting’s illusion revealed. Monotone paintings are visually closer to photography, and therefore visually closer a realistic documentation as our eyes are trained to consider photographic images as true testimonies. I work with fragmented compositions and figure-ground arrangements, and I construct perspectives of conflicting views locked in the painting’s multiple glazes. It takes time to see through the superimposed layers–just as it takes time for the eye to conjugate the overlapping fragments. Multiple-eye levels that range from plan-view to panorama, and focus from close-up to remote, cause a dispersal of information in the composition. My aim is to produce paintings in which spaces are recognizable yet elude description.

CANAN TOLON
Bio