agostino iacurci italy camila rodrigo peru mathew zefeldt united states juan carlos coppel mexico josh reames united states
Celaya Brothers Gallery
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INEZ SUEN
Mathew Zefeldt
Still life Tiled 2017 Acrylic on canvas 48 x 36 in. $7,000.00 USD
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Mathew Zefeldt
Still life Tiled II 2017 Acrylic on canvas 48 x 36 in. $7,000.00 USD
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Josh Reames
Cycles 2017 Acrylic on canvas 50 x 60 in. $9,500.00 USD
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Josh Reames
Coiled 2017 Acrylic on canvas 42 x 48 in. $7,200.00 USD
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Camila Rodrigo
Costa verde XII & XIV. Diptych. Ed 1/3 2014 Inkjet on barited paper mounted on aluminium 59 x 39 in. ea. $8,000.00 USD
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Juan Carlos Coppel
Quema 2 (Ed. 1/3) 2016 Inkjet on cotton paper 39 x 59 in $3,500.00 USD
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Juan Carlos Coppel
Quema 4 (Ed. 1/3) 2016 Inkjet on cotton paper 39 x 59 in $3,500.00 USD
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Agostino Iacurci
Planta 1 2017 Mixed media 26 x 8 x 8 in. $1,300.00 USD
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Agostino Iacurci
Planta 2 2017 Mixed media 28 x 10 x 10 in. $1,300.00 USD
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Agostino Iacurci
Planta 3 2017 Mixed media 30 x 7.5 x 7.5 in. $1,300.00 USD
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Agostino Iacurci
Planta 4 2017 Mixed media 32 x 9 x 9 in. $1,300.00 USD
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Agostino Iacurci | Foggia, Italy, 1986 Through his work with synthetic forms and bright colors, by means of an essential language, Agostino Iacurci is able to manage multiple layers of interpretation. This approach sets his tales on the perennial threshold between innocence and artifice, serenity and catastrophe; on a magnetic tension that is the interpretative key to our very existence. His recurrent themes include self-perception, uncertainty, imagination, and play. Conceptually, his work leans towards mechanisms of irony, a play of contrasts that occur with opposites. The artist believes in the use of childlike language to narrate light subjects as well as catastrophic ones. His work has a cynical and critical vision of reality —pessimistic at times— setting the stage for drama, and at the same time sublimating it, alleviating it. Iacurci’s work challenges the limits of sinuosity by presenting an image that seems familiar and innocent but is, fundamentally, malicious. And in that uncertainty lays its richness, a half-open door that leads to other interpretations. Agostino Iacurci’s work has been exhibited at the MACRO Museum in Rome, Italy; the Italian Cultural Institute of New York, USA; the Media Library of Orly in France and the Biennial of Urban Art in Moscow, Russia. He currently lives and works in Berlin.
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Camila Rodrigo | Lima, Peru, 1983 Camila Rodrigo works with photography, sculpture and installation to reflect on the effects of erosion and wear, focusing on the idea of progress as a contrast between past and future. Her images examine the passage of time, the transformation of the natural space parallel to the reorganization of society. Rodrigo studied Photography at the Centro de la Imagen in Lima, Peru. In 2009, she did a Master in Photography and Visual Arts at Naba University in Milan, Italy. In 2010, she was selected as part of Regeneration: 70 Best Young Photographers Around The World, created by the Musée de l’Elysée in Lausanne, and later was a finalist in the Lacoste Elysée Prize. In 2014, she did the Master’s Mal de Foco: Latin American Photography at Centro de la Imagen in Peru. Her projects have been exhibited at the National Museum of Lima, in Peru; the Museum Rosphoto in St. Petersburg, Russia; the Musée de L’Elysée in Lausanne, Switzerland, and the Palais de l’Á rchevéché in Arles, France. She has also exhibited her work in galleries in Lima, Mexico City, London, New York, Amsterdam, Barcelona, and Milan, among others.
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Josh Reames | Dallas, USA, 1985 Josh Reames’ paintings use contemporary tools available on the Internet to create surreal patchworks of contemporary signs and symbols that portray the flattening of artistic hierarchies in our postmodern world. Reames employs computer drawing applications and Google images to create assemblages of “modern hieroglyphs.” His work considers abstraction and painting in relation to the Internet, and is informed by the strange, new space where a majority of viewership takes place: online through blogs and websites. In his paintings, depth, dimension, and the artist’s hand are typically lost in translation from object to image, allowing the information to exist as it would appear on a digital screen. His conceptual framework functions as a kind of filtration device for cultural byproducts and its attending relativism, flattening signs, text and symbols, cultural objects and icons to the same-level composition, thereby removing their hierarchy. Reames’ work has been exhibited at The Hole, New York, USA; Johannes Vogt, New York, USA; Luis de Jesus, Los Angeles, USA; Andrew Rafacz Gallery, Chicago, USA; Josh Lilley Gallery, London, UK; Brand New Gallery, Milan, Italy; Annarumma Gallery, Naples, Italy; Dittrich & Schlechtriem, Berlin, Germany, and Koenig Galerie, Berlin, Germany. He lives and works in Brooklyn.
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Juan Carlos Coppel | Tucson, USA, 1986 Juan Carlos Coppel’s images and sculptures could be linked to the tradition of geographical landscape photography, or the cabinets of naturalist explorers of the seventeenth century, they are actually records of observations and daily work on the transformation of the land. Therefore, his gaze is not only aimed to discover the sublime in the monumentality of the landscape, but to warn a critical stance on industrial agronomists processes, which at the same time reveal textures, reticles and tissues that alter our perception of the natural environment. His work has been exhibited in Celaya Brothers Gallery (MX), the National Center for the Arts CENART (MX), Sonora Museum of Art MUSAS (MX), the Santa Barbara Museum of Art (USA), among others. He was awarded the Fotoseptiembre Acquisition Prize, the Acquisition Price of the XV Northwest Biennial of Visual Arts. He has participated in art fairs such as Fotoespaña, Guatephoto, Salón Acme and the Biennial of Photography, in Mexico City; and the MIRADAS Tijuana Biennial of Visual Arts, Mexico. He was a member of the 2016-2017 Young Creators Program of the National Fund for Culture and Arts FONCA and the Contemporary Photography Program in Northern Mexico.
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Mathew Zefeldt | Antioch, USA, 1985 His work uses representational imagery as an element within a larger composition. It’s less about what the repeated image represents necessarily, but rather the interplay and relationships of the parts to the whole, and each other— reflecting the pluralist landscape we find ourselves in today. Zefeldt uses images from our life and culture, to reproduce them in an almost lifeless, systematic way. His interest in the aesthetics of digital collage is addressing the multiple visual languages and bringing them together in one plane, creating an overlay of styles and gestures that echo the fragmented, heterogeneous nature of contemporary reality. Mathew Zefeldt is an Assistant Professor of Painting and Drawing at the University of Minnesota. He was one of two national recipients of the Dedalus MFA Fellowship in 2011, and was included in New American Paintings Magazine. Zefeldt has had solo shows at The Soap Factory, Minneapolis, USA; Circuit 12, Dallas, USA; The Institute of Art in Minneapolis, USA; the Santa Monica Museum of Art, USA; Good Weather, Little Rock, USA; Hap Gallery, Portland, USA; Michael Rosenthal Gallery, San Francisco, USA, and Swarm Gallery, Oakland, USA. Zefeldt has been part of group exhibitions at Lisa Cooley, New York, USA; Eleanor Harwood, San Francisco, USA; MOHS, Copenhagen, Denmark and Circuit 12, Dallas, USA.
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