Fresh! 2016 by JanKossen Contemporary

FRESH ! T he M oder n Por trait SU M M ER GROU P SH OW July 7 - Aug 17, 2016

Published by JanKossen Ltd www.jankossen.com 3rd edition Â© July 2016 All rights served Printed in U SA

T he annual summer group show FR ESH ! returns to JanKossen Contemporary, featuring works by 25 artists who reveal their interpretation on contemporary portraiture. Artists were invited to demonstrate their artistic approach and interpretation of how the portrait offers an intimate view of the depicted subject; the exploration of their character, sentiment, and identity. A diverse group of international emerging and established artists were selected, offering the viewers a range of distinct methods, media, materials and techniques.

Full Body Photography N umerous portraits in FR ESH ! present full body photographs of the subject. Among a handful of artists that have displayed their insight in this particular format is Robyn D ay, using typology as a conceptual framework. She takes photographs of self-identified women, revealing the fluidity and variation of gender performativity. Further exploring narratives that can be expressed through photography, Justin L evesque seeks to make the invisible visible by capturing hidden places of complicated ideas and relationships in his work. Similarly, A m ber Tourlentes? photograph exhibits the scene of a civil war reenaction in Illinois, attempting to show how varied the interpretation of a shared history can be. She prints her photographs on clay treated rag papers using Epson archival-pigmented inks, enhancing the illustriousness of her portraits. Lastly, Clay Jordan introduces a method of artmaking that is completely spontaneous, as he photographs any subject matter that strikes his interest, without predisposition. H is liberated approach gives him the opportunity to present his subject in a truly simplistic and pure manner.

H ead- to- Shoulder Photography N ot far in terms of stylistic approach, another group of artists demonstrate their concepts through alternative photography, taken at a closer proximity. By playing around with juxtaposition and the compositional relationship between background and foreground, A niko Safran takes photographs of her models emmerged in water. H er extensive and thoughtful manipulation of the

elements in the portrait is well presented in its final form; an image that evokes tension in an otherwise relaxing and weightless atmosphere. Stratton M cCrady also produces head-and-shoulder photographs of his subject by capturing photos of burlesque performers, initiated by his interest in the impulse to perform, to titillate, and to join a community largely of women. Delving further into the self being a reflection of its external environment, M elonie M ulkey constructs life-size sets depicting a blend of personal memories and narrative fiction in her work. She claims the figures in her scenes are built from a multitude of folded images that capture the area surrounding them, reflecting their domestic space, possessions, and collections.

D istor ted Paintings O bscuring a familiar subject sets the theme for the following three painters. Korean painter Byungk wan K im ?s work tries to reconstruct habitual vision by replacing familiarity with strange destruction, ultimately leading to discovery of the new. From Austria, Rom an T raexler incorporates the dark side of life in his acrylic painting, distorting faces into ambiguous yet still recognizable forms. Likewise, Jack Rosenberg?s oil painting portraits aim to dismantle the known. H is work often reproduces familiar images, deconstructing, embellishing or adapting them into new conceptually

layered pieces. All three artists depict a visual that is captivating, certainly because the viewer experiences a bizarre sense of relief as they discover a detectable subject in the midst of a dark, defiled image.

M ixed M edia and Collage Based Work T he theme of the body being a vehicle that contains the complex internal essence of an individual is expressed in various collage-based works by artists like A xelle K ieffer and N ina Sum arac. K ieffer shows a series of portraits made out of pages from vintage medical books. H e is able to illustrate the notion of the physical body as a mechanism that mirrors what is happening internally, through the creation of faceless portraits with infinite combinations of palimpsests. Sumarac also shows a concept parallel to this, heavily expressing the fluidity and multi-faceted side of one?s identity in her fragmented portraits. Artists also explore themes of social justice with their mixed media and collage works. Evan Schw ar tz examines the social pressures, struggles, and interests of inner-city teenagers through his collages, while Z achary W illiam s exposes the absurdities of modern American political and social life, including the numbing epidemic of violence. M axwell Em cay?s multi-layered work seeks to create a dialogue around institutionalized barriers while presenting conscious meaning, as Shaw n Shepherd gives a closer view on disenfranchised citizens and the anonymity in dense urban centers with his work on paper. Similar to this, Chr istopher O wen N elson focuses on the interactions between humans and their place of being. H e casts torn up love letters, prints, papers, and fabrics into relief carved resin, drawing the viewer closer to his already

impactful portrait with this unusual method of execution.

A lter native M edia Work Certain artists have incorporated a specific style in which they disintegrate or shatter their subjects into uncountable pieces. T his stylistic choice was consciously made to present the idea that creation and destruction are in fact not far from each other, as well as the idea of adaptable and shifting identity. Jasm in Edelbr unner plays around with circles to create subtle yet enthralling portraits. T he circles combine infinitely with each other and expand to form discernible patterns. Edelbrunner based her images off of pictures of her closest friends, making it personally meaningful. Sar upa Sidaar th experiments with paint application techniques and various miscellaneous materials like crystals and plastic wiggle eyes to explore value changes on a canvas. Showing an equivalent effect, Colleen Fitzgerald?s works reflect the notion that the self is not a fixed entity, but one that exists in perpetual flux. H er photographs show carefully assembled and disassembled subject matters, further conveying her theme.

T raditional w ith a Tw ist Several artists made the decision to stay in the realm of traditional art making, but added the slightest twists to make their pieces even more substantial. N even Z or icic?s oil paintings are greatly influenced by classical painting techniques of the old masters such as M ichelangelo and Velasquez, clearly shown in his well-executed portrait. Keeping her materials as simple as charcoal and chalk, H er w ig M ar ia St ark?s canvas work is heavily based on

the ?interpretation? of the human face, with its varied expressions and forms which make the inner life of man visible. M arc D essauvage redefines Flemish iconography in portraiture with his work on paper. H is purposeful use of mixed media instead of oil painting when referencing the Flemish masters detaches him from the traditional way of approaching such a subject. Following the interlaced theme of taking the traditional into something more absorbing, M ark L iam Sm ith creates a narrative through the interplay of color, geometric shapes, and characters in his paintings of otherwise conventional portraits, whereas Chr istopher Par rott approaches the genre of traditional figurative painting with a postmodern sensibility by assigning them incompatible roles in his work. T he subjects presented are both performers and observers, set in a ?virtual? gallery space where Parrott further establishes a particular fictional anecdote through imagery.

Jason Bryant N ew York, N Y In my recent series of paintings, I have incorporated my love of skateboarding to explore themes of portraiture. W ith vibrant visceral iconic skateboard graphics coming from behind or bursting through the elegant black and white images of various actors and actresses, I?ve merged two of the most important parts of my life, skateboarding and art. I use the traditional format of the portrait, to simultaneously, comment on identity and create portraits that mean so much more than just the individual being painted. W ith most of my paintings, the figure is the focal point, but when all of the elements of the painting come into play, the work really explores the identity of others, not the subject being painted. T here is so much to be learned from a person?s portrait, information that goes well beyond the face.

Fabulously Flawed, 2013 34.5 x 26.5 x 3.3 in. (87.6 x 67.3 x 8.3 cm) Acrylic on canvas

Robyn D ay Chicago, I L U sing typology as a conceptual framework, I photograph self-identified women, examining a category that, in reality, is not one. Taken together, my portraits reveal that fluidity and variation of gender performativity. Pointing to the internal inconsistencies and incoherence of the category itself, they call into question the assumption that it is at all evident what makes one a woman.

Rose, 2016 Archival Pigment Print 24 x 16 in (60.96 x 40.64 cm)

M arc D essauvage N ew York, N Y T he objective for this body of work was to redefine Flemish iconography in portraiture with enough ambiguity so that it is detached from religious narratives. Instead of working with oil on canvas, I sued mixed media on paper to detach myself from traditional oil painting when referencing the Flemish masters. T his method of working allows me to appropriate Flemish iconography while adopting a visual language that is more akin to ukiyo-e in its usage of line and space. T hrough the usage of cropping, outlines, and flat surfaces, my portraits challenge didactic Flemish realism in favor of abstract space. Instead of conveying a clear spatial orientation of the subject, these abstract spaces serve as a psychological extension of the portrait. U ltimately, this approach strips iconography of its religious narratives to create psychological spaces in portraiture.

A ngel, 2016 O il, Watercolor, Ink, Colored pencil and Graphite on paper 8.75 x 8 in. (22 x 20 cm)

Jasm in Edelbr unner V ienna, A ustr ia

I?m totally obsessed with circles. T hey playfully search their way through paper, canvas, prints, videos and performances. M y circles don?t know any limits, want to combine everything with each other and expand to infinity.

I N GE, 2015 Digital print on paper 27.5 x 19.6 in. (70 x 50 cm)

M axwell Em cays Chicago, I L M y multi-layered work seeks to create a dialogue around these institutionalized barriers while presenting a more overt conscious meaning.

N A S, 2012 Wood 47 x 32 in. (119.3 x 81.2 cm)

Colleen Fitzgerald M em phis, T N ?Becoming?reflects the notion the self is not a fixed entity, but rather one that exists in a perpetual state of flux. A photographic sculpture of a representation of outward identity, the portrait, is simultaneously deconstructed and reconstructed, morphing into continuously moving and individual, fragmented pieces. T he chaotic assembling and disassembling of the object causes the layers of raw material to become the subject while the pictorial whole has the potential to become shattered into an atomized abstraction. T he series echoes the paradoxical notion that creation often arises from destruction.

From left to right: Becom ing (D et ail C), 2015 Becom ing (D et ail G), 2015 Becom ing (D et ail J), 2015 All three are Pigment prints, 10 x 8 in. (25.4 x 20.3 cm)

Clay Jordan M illedgeville, GA R arely do I venture out with a topic or subject in mind ? I drive until I see something that compels me to stop, analyze, and possibly photograph for later perusal and consideration.

Untitled, 2014 Archival ink jet print 20 x 20 in. (50.8 x 50.8 cm)

A xelle K ieffer Savannah, GA (French bor n)

From left to right:

?I?m trying to understand how the flesh is a good vehicle of what?s happening inside, how we feel in our body and how we live with it. T he hand-cut paper are pasted directly on the photos to show what is inside and outside. T he scalpel-cut pieces carefully chosen from vintage medical books cover the faces. T hese faceless portraits reveal a new meaning at the manner of a palimpsest. Covering, hiding, assembling the pieces creates new combinations. T he collage breaks our vision of the portrait and raises strongly the inner identity of the person at the closest of its uniqueness.?

Balor, 2015 11 x 8 in. (33.5 x 26 cm) M edusa, 2015 15 x 12 in. (39 x 31 cm) M opsos, 2015 15 x 12 in. (39 x 31 cm) All three are hand-cut paper collage on vintage photographs.

GhostBackup_O ldSt ar #004, 2015 Acrylic on canvas 28.6 x 35.7 in. (72.7 x 90.7 cm)

Byungk wan K im

Seoul, K orea

What I would like to express through my work is very simple. I am trying to bring out strangeness from familiarity (visual habit). Everything that is out there in this world, more or less, provides familiar vision. T his familiar vision can be replaced as habit. T his habitual vision which every object gives us and creates comfort. H owever, it shuts down all the other possibilities. T he habitual vision or visual habit makes us go by the routine ways. It stops us from having adventures and checking out the wonders out there. M y work is trying to destroy, tear up, and reconstruct this habitual vision so that our vision can be expended to other things. I have strong faith in my work that my personal behavior may lead us to ?strangeness within habitual vision off from the track.?

Justin L evesque Por tland, M E T he process in which I make pictures most closely resembles that of a photographer but I prefer to say image-based works. T here is an importance on the form an image takes in order to meet the desired function resulting in an interdisciplinary approach to my practice. I seek out access points into overlapping communities to offer careful observations and dedicated participation. T he analysis of images and their impact on social norms + community expectations aids me in this process and is considered a critical component to my work. It is always at the intersection of things where I find the most interesting work whether it is at the intersection of art + commerce. T hese are hidden places of complicated ideas and complex relationships where I provide tangible opportunities for interaction and engagement. I make the invisible visible.

Capt ain K arl "K alli" Gu รถ m undsson, 2015 Digital C-Print 25 x 20 in. (63.5 x 50.8 cm)

Stratton M cCrady Saco, M E In our internet media age, we witness a new growing trend of a traditional performance art in American cities called burlesque. Its? history goes back to the music hall, and predates Vaudeville. M y interest lies more with the impulses to perform, titillate, and to join in community, largely of women. N o one makes much money to speak of. M odern urban burlesque is a labor of passion centered around dance, costume and literate humorous stripping. Production values are optional. T he practitioners come from almost every walk of life and include all ages and body types. T he only universals are an urge to dance and the desire to act out. T hese images strive for the quirky moment of individual personal revelation, as reflected in the exchange between maker and sitter. W ith a variety of ideas and themes in mind, the subjects come to the camera ready and expecting to pose. Clearly the instant between poses, the unguarded gesture, the awkward and the plain, often seem to give these portraits their most enduring faces. Alongside exuberance and joyful goofiness, once also sees quizzical moments of sadness, contemplation, and occasional fearfulness.

Sofia, 2015 Digital Photograph 30 x 20 in. (76.2 x 50.8)

N ew Y ear's R esolution, 2014 Digital Photography 18 x 24 in. (45.7 x 60.9 cm)

M elonie M ulkey Cham paign, I L In my photographs, I construct life-sized sets depicting a blend of personal memories and narrative fiction. T hey depict the psychological state of the individual trapped in moments of compulsion and habit. T he figures in my scenes are built from a multitude of folded images that capture the area surrounding them, reflecting their domestic space, possessions, and collections. T he intersection between the conditions of the mind and one?s personal surroundings, or context, reveals a certain time or place in one?s life. Based on the viewer?s own experience, they can determine the character?s identity by the environment in which they live, and not by their physical characteristics.

Chr istopher N elson Sant a Fe, N M

In my recent work I have focused primarily on the incorporation of the human element into landscapes to draw a deeper association between people and their place of being, where they come from, and how they contribute to it. Casting torn up love letters, print, papers and fabrics, into relief carved resin, serves as a vehicle for the viewer to develop a fundamental connection with the work, then to move towards establishing a relationship with the space created by the associative elements. M y goal is for the viewer to be transported to a deeply grounded place, and to be able to subconsciously respond to the love that is physically suspended in the work.

T he Fam ished Young Worker, 2014 Carved and painted cast acrylic 18 x 18 in. (45.7 x 45.7 cm)

Chr istopher Par rott H untington, N Y M y paintings and drawings are set in a ?virtual? gallery space, featuring a fictional body of work by a fictional artist. In this and other respects, my goal is to approach the genre of traditional figurative painting with a postmodern sensibility. Exhibitionism and voyeurism are significant themes for me. T he figures represented are both performers and observers, often playing out incompatible roles. M y work deliberately conflates personal history with broader cultural narratives. I?m interested in how individual identities are constructed and performed, and how personal dramas or transactions play out against the backdrop of a larger historical forces.

O lym pia, 2015 Charcoal on paper 9.5 x 10.3 in. (24.1 x 26.1 cm)

Jack Rosenberg N ew York, N Y M y artwork takes an openly objective view of social, political, and cultural issues. In my work, I deconstruct the known familiar and unfamiliar imagery. H aving engaged subjects as diverse as celebrities, iconic works, friends, historic persons; my work often reproduces familiar images, deconstructing, embellishing or adapting them into new conceptually layered pieces. While I use primarily oil paint and processes in each project my methodology is consistent. Although there may not always be visual or contextual similarities between the different paintings they are linked by recurring formal concerns and through my visual mental lens. T he subject matter of each body of work determines the inception and forms the outcome of the work.

Two D ykes, 2016 O il on canvas 60 x 30 in. (152 x 91 cm)

A niko Safran H ar r isonburg, VA In this series of analog photographs, I submerge my subject, often quite literally, into an environment that I have created specifically for her or him. I choose the elements- flowers, cranberries, coffee beans, etc., based on how they relate both visually and personally to the person I am photographing. When working in this setting, I retain control over the lighting, the background, and to a certain extent, my model. When photographing my subject in water, the background floats to the surface, condensing the image to a narrow space. T heir faces become disembodied, creating an image that evokes tension (visual and psychological) in an otherwise relaxing and weightless atmosphere? a juxtaposition I find interesting.

L indsey in W nter 2, 2014 Kodak Portra 400 color negative photographic film 30 x 20 in. (76.2 x 50.8 cm)

Evan Schwar tz Brooklyn, N Y T hese portraits explore the social pressures, struggles, concerns, conflicts, and interests of inner city teenagers. T he works seek to make visible to the viewers what lies beneath the often rough exteriors of my subjects. Aesthetically, these portraits possess a deliberate urban feel as the teenage subjects are from the South Bronx all too evident were the crime and poverty my students witnessed and experienced, forces that dramatically and decisively impacted their world views. I wanted the art to reflect this most of all. By utilizing various elements placed in these portraits? urban decay, colors, words, images, and phrases? a kinetic quality? one that I found ever present in inner-city kids and the world they inhabited, emerges for viewers further scrutiny, reflection, and revelation. I have employed a mixed-media approach to this series in order to emphasize the subjects? dynamic and fragmented selves. Painting and collage collide and coalesce to imbue my work with a distinctive-yet-holistic feel.

I nner Beaut y/H idden Secret, 2016 M ixed M edia 24 x 18 in. (60.9 x 45.7 cm)

Shaw n Shepherd V ictor ia, Canada Downtown living provides one with a closer view of the disenfranchised citizens and a notion of the anonymity of dense urban centers. T hese portraits of local, national and international celebrities of the past have become absorbed and veiled in a history of ideas and methods employed in my art practice, thus inverting the position these subjects once held in society by rendering them anonymous.

D ow ntow ner 62, 2016 Ink & Coloured pencil on etched monoprint 6.6 x 3.6 in. (16.9 x 9 cm)

Sar upa Sidaar th Belvedere T iburon, CA I am inspired by ornament, an ancient visual

Value studies for wom en 1,2,3,4, 2014 Acrylic and wiggle eyes on canvas 10 x 10 x 1.5 in. (25.4 x 25.4 x 3.8 cm)

language used in various cultures for communication. Born in India, I grew up with fantastical images of Gods and Goddesses. T he concept of decoration is deeply embedded in my upbringing and culture, where adoring the self and surroundings was the norm. I experiment with techniques of painting to create an imaginative response to conflict on the canvas. I use acrylic paint to make circular and metallic elements for my paintings. Subversive and unusual raw materials like Swarovski crystals, plastic wiggle eyes and eyelets are interspersed with thick acrylic paint to explore how we assign value to objects and differentiate between high and low art. By its sheer beauty, ornamentation has discernible power on the human psyche. I investigate what ornament means in contemporary painting. M y paintings reference social issues such as racism and sexual orientation bias through artistic process. T he bizarre use of googly eyes on canvas, interchangeably as an element of structure or embellishment adds a touch of humor to a serious conversation. I want to engage the viewer through a different discourse by working with materials that are easily rejected in traditional painting. T hrough mark making and the power of ornament, my work expresses a need for change and explores the possibility of the new.

Creative Cur rency, 2016 O il on canvas 11 x 14 in. (28 x 36 cm)

M ark L iam Sm ith Toronto, Canada M y paintings are visual works of fiction: I create a narrative through the interplay of colour, geometric shapes, and characters. I carefully consider the chromatic relationships in my paintings, just as an author uses symbols to layer the plot with meaning. I then overlay abstract elements, such as colour blocks and lines, to further enrich the narrative.

H er w ig M ar ia St ark V ienna, A ustr ia M y artistic work is based on the human being, especially the ?interpretation? of the human face with its boundless, multiple and multifaceted expressions and forms, which make the inner life of man visible. Painting is my way to talk to and communicate with the world. I show, question, feel?

I SH OT M Y BA BY , 2014 Charcoal, chalk, and acrylic on canvas 59.5 x 41.3 in. (150 x 105 cm)

I n the Garden of Eden, 2014 O il on canvas Diptych 47.2 x 70.8 in. (120 x 90 cm) each part

N othing Com pares to you, 2015 Digital art, transferred image on canvas 47.2 x 70.8 (120 x 90 cm)

N ina Sum arac L im assol, Cypr us N o matter our origins, our DN A is constantly evolving due to environmental, cultural, political, economic, emotional and personal circumstances. T here is no fixed human nature like it or not; we are all cross-bred and our minds reflect the realities of the global village. When we finally accept our new fluid identity; when we realize the whole is vastly greater than the sum, our collective love, potential and dynamism can and will transform the conflicts of today into tomorrow?s U topia. T he collection TAKE ALL OF M E celebrates our differences and similarities, portraying all humans as equally acceptable and beautiful.

A m ber Tourlentes Som er ville, M A W ith many of my projects, I borrow from the documentary and fine art portraiture cannon, allowing me to investigate the recreation of fictitious histories. T he aesthetic strategies of photography allow me to consider not only the boundaries that communities create and exist within as shared-performance but also how the sitter constructs community and representation.

I llinois R eenactor,2015 Photographic pigmented print 24 x 20 in. (60.9 x 50.8 cm)

Rom an T raexler V ienna, A ustr ia Traexler is a self-taught artist whose creative production revolves around classic figurative painting, presented in a contemporary manner. Traexler explores the dark side of life, nihilism, existentialism, longing and loneliness, juxtaposed with fragile beauty. T he atmosphere in his subject matter is often presented in a dream of limbo-like state, with elements of surrealism. H is focus on atmospheres rather than narratives and realism leaves his painting open for many interpretations.

M ono- JK - 002, 2015 Acrylic on canvas 31.4 x 23.6 in. (80 x 60 cm)

Z achary W illiam s Chicago, I L ?T he majority of my work thus far has been representational, exploring the many absurdities of modern American political and social life, especially the numbing epidemic of violence that our children endure. M y recent use of iconic imagery from my own childhood is set in sharp contrast to portraits of children today forced to grow up in a culture of escalating gun violence. By interweaving this narrative with nostalgic, appropriated images, I plead with my viewers? emotional state, defining unnerving contrast between generational upbringings. T hese images are youthful protests, emotionally charged and designed to address and confront the viewer, highlighting the responsibility that we as a community and individuals have in ensuring a safe and supportive environment for our children.?

Angry Bombs, 2016 O il on panel 19.5 x 15.5 in. (33.02 x 27.94 cm)

N even Z or icic M ilan, I t aly T he part of my work that involves portraiture is particularly concentrated on the beauty of facial features that I seek to reproduce with fidelity, inserting into the portrait my personal imprint so that the portrait of a person, in the end, also becomes, in a certain sense, my portrait. I pay particular attention to the background and environment of my subject. T he background is never just any space, but is an integral and fundamental part of the person. T he entire canvas must have the power to create a kind of magic that involves and provokes the viewer with colors, lights and shadows that communicate a very intimate message.

QU I M E V I D EBAT , 2016 O il on Canvas 19.6 x 15.7 in. (50 x 40 cm)

A bout Us A ddress JanKossen Contemporary focuses primarily on abstract, conceptual art created by both established and mid-career international talents. Providing a platform for Pakistani, Indian and M iddle Eastern-based artists who wouldn't otherwise have an opportunity to exhibit outside their home borders adds an extra dimension to the gallery program. T he gallery has locations in N ew York, N Y and Basel, Switzerland.

Sw itzerland

Delsbergerallee 61 CH 4057 Basel, By appointment only U SA

529 W 20th St, 6th floor N ew York, N Y 10011, U nited States

Cont act Email: info@jankossen.com or: jankossen@gmail.com

I M PR ESSU M CON CEPT , EDIT IN G, AN D R EALIZ AT ION Jasmin Kossenjans DESIGN Dohie K im PH OT O GR APH Y Provided by Artists T EX T Provided by Artists

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Published by JanKossen Ltd www.jankossen.com 3rd edition ÂŠ July 2016 All rights served Printed in U SA