Prior to making her work, Justine Hill creates drawings to explore formal variations of pattern, space, and hue. Within these marshmallow-like pieces, an interplay between the pressure and release of Fitzgerald’s hand remains in the plaster sheets that cover an underlying mesh structure. Once painted, the irregularity of their surfaces is amplified. The dots, applied with a saturated brush, creates a trail of drips, which reinforces a sense of gravity in these otherwise buoyant works. Fitzgerald’s ovoidal pieces are painted with acidic, flat hues punctuated by bold dots. Despite the form’s heavy top, the objects’ rounded edges and light values pose a cloud-like softness. Installed on delicate steel armatures, Tepaz’s objects appear to plume upward, as if billowing from their bases like flora. Karen Tepaz’s and Gail Fitzgerald’s objects show the artists’ respective hand through a textured and colorful treatment of surface. Recently, the artist has borrowed from Medieval visual culture, but when the disparate elements converge in a painting, clear glimpses of her sources fall away toward ambiguity. Within her intricately painted abstractions, moments of recognizable signifiers converge in an ordered system that plays with symmetry, repetition, and tension. Some letters are painted with bright cadmium red paint, which sets them apart from the brown and crimson hues of the image, creating a centralized stack of broken letter O’s.įorms that resemble lengths of red ribbon are loosely wound through white rings and around black marquises in the fore of Untitled (17-14) by Rebecca Shore. For Monoprix 1, Lum paints the French chain store’s logo. Furthermore, she is drawn to printed matter where its typography does more than announce the subject. Mary Lum uses found text as collage material, then reconstructs its striated fragments into a visual language challenging the readability of its letterform. This unapologetically calls attention to the print’s materiality, and by extension, a paper thin facsimile of the historic ornamentation. The print is affixed to the wall at its top, which allows it to hang loosely with its seams purposefully visible and its extra material gathered at the floor. Printed on vertical lengths of paper, the artist reconstructs a decadent Victorian interior sourced from the period’s pattern books. Visitors to the gallery can participate in this conversation by writing a response on the provided artist’s postcards.Ī dominant feature in the gallery is a site specific installation by Elizabeth Corkery. Both an investigative project into the history of Western colonization and challenging the contemporary depiction of heroes, Minaya situates the viewer to actively question the significance of these figures. Joiri Minaya’s Proposal for artistic intervention on the Columbus Statue at Columbus Circle, New York, US, is an intervention that proposes to wrap New York City’s Columbus Circle monument of the Spanish explorer with tropical-patterned spandex. Artist talks with Karen Tepaz and Justine Hill will take place during the spring semester.Ī number of artists represented propose alternate considerations of decorative patterns’ histories or uses. Outside of the gallery, Cunat’s Collage & Mixed Media class at the Rose Hill campus will be responding to Fanfare through an investigative studio project. A printed catalog accompanies the exhibition with essays by Francesca Aton (Art in America) and Sarah Cascone (Artnet News). Beverly Acha, Gail Fitzgerald, Justine Hill, and Karen Tepaz use pattern as a way to construct an internal logic within abstraction, while Elizabeth Corkery, Mary Lum, Joiri Minaya, Rebecca Shore comment on histories, empirical references, or identities through the use of specific patterns and ornamental motifs.Īn opening reception for the artists will be held on Thursday, January 23 from 6-8pm. The show brings together the work of eight artists who explore pattern through painting, sculpture, photography, printmaking, or installation. Within art the arrangement of color and form, touch and tactility, prompt insight, offer reference, and manifest content. Pattern, a recognition of regularity within the world, awakens our perceptive understanding as to how something may be organized. Fordham University and the Ildiko Butler Gallery is pleased to present Fanfare, a group exhibition curated by Amie Cunat at the Lincoln Center campus.
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