Louise Barry works in drawing, collage, and sculpture, and is interested in the way concepts and images translate between media. She borrows images and text from sources including online stock photography sites, magazines found in thrift stores, and elements of her own life. Much of her work concerns the relationship between images and the past they represent, both distant and recent. Her work is a way of reconstructing what is absent; in attempting to reconstruct the past, she is creating fiction using what remains of something that has been lost.
Image: Louise Barry, “Mountains of Colorado, Rocks of Troy”, dimensions variable, 2010
Born in Jerusalem, Israel, Noa Charuvi moved to New York City to pursue a Master’s degree in Fine Arts at the School of Visual Arts. After completing her studies Noa stayed in New York City where she currently lives and works. In 2010 she has been awarded participation in the AIM program at the Bronx museum, invited to Yaddo artist residency in New York State and participated in the Triangle Arts Workshop in Brooklyn. Her work was recently part of a group show in Lombard Freid Projects that has been reviewed by the New York Times. In 2011 Noa was selected as a resident artist at the AAI Lower East Side Rotating Studio Program and as a member of the Elizabeth Foundation for the Arts studios in New York City.
Image: Noa Charuvi, “Catepillar,” oil on canvas mounted on panel, 11″ x 14″, 2010
Hong Seon Jang
I create works that evoke a fundamental recognition of our space and environment and imply physical vulnerability in our daily life. These ideas evolved from my interest in studying the similarities between human and non-human life forms pertaining to structures, symbols, and patterns. The main concept is a fascination with the comparison of human activity and natural phenomena as it corresponds to the circulation of destruction and creation. My work consists of installations often made out of found objects and common products. In giving these everyday materials new meanings and aesthetic possibilities, I strive to actively practice the concepts of the Eastern philosophies of the circulatory life system and the continuous flow of connections. I re-create or manipulate the materials into a likeness of natural forms to embody new contexts of physical existence, in a sense, mimicking the fundamental force of survival and growth. By attempting to understand characteristics of different life systems and their associations with our own entity as my subject matter, I intend to introduce new visual dialogue and meanings for ephemera in life to define conflict associated with contradictions inherent in nature and society, such as physical fragility and danger, ephemeral and perpetual, creation and extinction.
Image: Hong Seon Jang, “Fungus,” magazines and glue, variable dimensions, 2010
Landscape and architectural spaces function as stage sets in my paintings. They remain indifferent to the presence or absence of human drama taking place. Inspired by frescoes I embrace the intrusion of the deterioration as part of my content. We accept the incomplete narrative (the current propaganda to unify the masses; the original meaning partially lost) and superimpose our own prevailing narrative. The paintings look like collage and function in a similar manner; flickering from one reality to another. I like to try to make sense of illogical fusions of space and light.
Judith Simonian lives and works in New York City where she was a recent recipient of the Adolph and Esther Gottlieb Foundation Grant. She was born in Los Angeles, California and received her M.A. and B.A. from California State University, Northridge. Her work has been reviewed in Flash Art, Art in America, ART News, Arts Magazine, The New York Times, Los Angeles Times, ArtCrital.com, Brooklyn Rail, SanFrancisco Chronicle and numerous other publications.
Image: Judy Simonian, “Red Pillow ,” acrylic on canvas, 50″ x 62″, 2010