T H E
B A R N
P R O J E C T : 3
S U N
Seeing the Unseen : 8.3.16 - 9.20.16
V A L L E Y
The Barn Project
The Barn Project, established in 2014 by founding principals Julie Harvey & Michael Liener (of Harvey Art Projects and Aurobora respectively), aims to broaden the dialogue between traditional and contemporary art cultures by exploring connections and cultivating the common turf that continues to change and shift between artistic visions current in the art world. In doing so, The Barn Project’s mission is to highlight not only the universality of contemporary art but to emphasize the intriguing intersections as they emerge and take root. A barn-raising is a collective action of a community in which a space for one of the members is built collectively by members of the community. It is collaboration coupled with vision that precipitates positive change. And likewise, it is through collaborative effort among artist communities that art becomes a stepping stone for social engagement, for altering calcified conceptions, for shifting global viewpoints, and ultimately for a regenerative shift in perception. In this spirit, The Barn Project fuses the artistic vision of contemporary artists from around the world, including indigenous art movements rarely seen in the context of contemporary international exhibitions.
Barn Project 3: Seeing the Unseen
It must be visible or invisible, Invisible or visible or both: A seeing and unseeing in the eye --Wallace Stevens (from Notes to a Supreme Fiction)
Barn Project 3: Seeing the Unseen asks the question—what happens when we observe something for the first time, can we abandon our bias and expectation in order to fully explore what we are viewing? When a viewer sees without self-restriction, receptively engages with complete attention and approaches an exhibition open-minded and clear-eyed, then there is an extraordinary opportunity to feel something new come alive. The need to label and identify dissolves. The need to assess or judge from a constricted construct or conceptual framework vanishes. And when this happens, only then, will a viewer be left with a pristine, unclouded space from which to observe. It is within this place-- between object and observer-- where awareness is cultivated, where a viewer gets a glimpse of the ever-now that is constantly present, an immediacy which underpins each of these artworks. From this awareness, the observer begins to see faint outlines of pleasure, of beauty, of possibility. It is here that a viewer forms a relationship with art itself. With this exhibition Seeing the Unseen-- presented in dual-gallery venues at Aurobora & Harvey Art Projects-- Barn Project 3 attempts to create a bridge. A bridge that links art practices from divergent cultures; a bridge which connects pairing compositions, substrates and mediums; a bridge that arches between individual artistic inspirations; but most importantly, a bridge which provides a vantage point for a viewer to establish affection for the unseen.
LEFT: Nongirringa Marawili Baratjula Natural pigments on board 95” x 47” Catalog #4646A
Nongirringa Marawili Baratjula Natural pigments on board 95” x 47” Catalog #4656P
RIGHT: LoopmasterM Untitled (or Down the Hallway en un edad de sisto) 2015 Acrylic on Rives BFK paper 42” x 45”
LEFT:
Harry Tjutjuna Mututa Tjukurpa, 2010 Acrylic on Belgian linen 65” x 71”
RIGHT:
Richmond Burton Aurobora Sequence VIII, 2005 Monotype with transfer on Rives BFK paper 46” x 34” Richmond Burton Aurobora Sequence VII, 2005 Monotype with transfer on Rives BFK paper 46” x 34”
LEFT:
Dana Frankfort Purple II (untitled) (021), 2016 Monotype w/handwork on Strathmore paper 30” x 44”
Dana Frankfort Purple (untitled) (019), 2016 Monotype w/handwork on Strathmore paper 30” x 44”
RIGHT:
Sonia Kurarra River and Palm Trees, 2009 Acrylic on canvas 35” x 47”
LEFT:
Nyarrie Morgan Untitled, 2014 Acrylic on belgian linen 60” x 60”
RIGHT:
Joanne Greenbaum Untitled (033), 2005 Monotype w/ transfer on Rives BFK paper 39.5” x 30”
LEFT:
Fernando Garcia Correa Untitled (MP2781), 2004 Trace monotype on Arches paper 27.5” x 8.5”
RIGHT:
Ray Ken Tali - Sand Dunes, 2016 Acrylic on Belgian linen 78” x 48”
LEFT:
Lisa Sanditz Post-Oracle II, 2006 Monotype on Arches paper 26” x 19.5”
RIGHT:
Lawrence Pennington Waputi, 2014 Acrylic on canvas 53” x 42”
LEFT:
Warwiya Burton Ngayuku Ngura (My Country), 2016 Acrylic on Belgian linen 78” x 60”
RIGHT: Monique Van Genderen Untitled, 2015 (MVG15-004) Watercolor, tempura and wax on Strathmore paper 44” x 30”
LEFT:
Dapeni Jonevari Heads of men and underground tattooing sites of the Ancestors with men’s tattoo designs (pattern of a leaf, jungle vines, fruit of the sihe tree, tattoo design of the belly-button), 2015 Natural pigment on barkcloth 44” x 25”
RIGHT:
Italo Scanga Coptic Series #5, 1993 Monotype w/ collage 25.5” x 19.75”
LEFT: LoopmasterM Nefeli Suite, 2014 Acrylic on found packaging material various dimensions
RIGHT:
Maringka Baker Punyukuti, 2013 Acrylic on canvas 78” x 39”
LEFT:
Fraser Taylor Tracking #12, 2008 Monotype on Rives BFK 22.25” x 26” Fraser Taylor Tracking #11, 2008 Monotype on Rives BFK 22.25” x 26”
RIGHT:
Pepai Jangala Carol Walungurru, 2015 Acrylic on Canvas 31.5” x 39”
LEFT:
Betty Carrington Darrajayin, 2014 Natural ocher and pigments on canvas 39” x 55”
RIGHT: LoopmasterM (Untitled) Study for a Hoopskirt- Large Orange, 2015 Acrylic on paper 54.5” x 38.75”
LEFT:
Lisa Williamson Untitled (LW16-009), 2016 Monotype on four-ply mat board 40” x 32”
RIGHT:
Barbara Mbitjana Moore Ngayuku ngura - My Country, 2016 Acrylic on Belgain linen 78” x 78”
www.thebarnproject.org | info@thebarnproject.org JULIE HARVEY - WWW.HARVEYARTPROJECTS.COM - INFO@HARVEYARTPROJECTS.COM - 208 309 8676 MICHAEL LIENER - WWW.AUROBORA.COM - MONOTYPE@AUROBORA.COM - 415 546 7880