Fresh! 2017 Geoform exhibition catalogue by JanKossen Contemporary

FRESH! 3rd Annual Summer Show

GEOFORM July 13th - August 18th, 2017

Published by JanKossen Ltd www.jankossen.com 9th edition Â© July 2017 All rights served Printed in USA

New York, NY. JanKossen Contemporary is pleased to present FRESH! 3rd Annual Summer Show: GEOFORM, a group show in collaboration with Arte Ponte Cultural Institute, curated by Victoria Borisova, featuring works by 26 artists demonstrating their interpretations of geometric abstraction. GEOFORM is a mixed-media show where visitors are invited to participate in uniquely constructed realities composed by a diverse group of international emerging artists. The exhibition highlights the potential of geometric forms; it is through the combination of pure shape and structure that reality is decoded and the audience is introduced to an intensely raw experience. Through the works of Danielle Feldhaker and April Hammock, visitors are introduced to the foundations of the genre; both artists reference the styles of Mondrian, Kandinsky, and other abstractionists, while bringing something uniquely theirs as demonstrated by individual varying combinations of form and colour.

Guang Zhu celebrates the beauty of non-objective form by taking a mathematical approach to her work. There is a sense of satisfaction from her organized process, a characteristic also shared by Patti Samper, who captures orderly delight through the simplicity and minimalism of her shapes. Similarly, Sabre Esler?s works are methodically calculated; her patterns are developed logically while also managing to establish a human connection. There is an added complexity to the works of Larry Jones, Stacy Lovejoy, and Jackie Tufford, as their compositions are emotionally charged. From Jones?s tightly coiled sculptures, to the regal nostalgia of Tufford?s stained glass, to the celebration of childhood in Lovejoy?s works, each artist coerces a different, and yet equally powerful visceral response. Although chaotic in nature, the works of Ryota Matsumoto, Blaine Breaux, Kyle Yip, and Sharmen Liao, are likewise commanding. The shapes in their works permeate the space, establishing relationships that are simultaneously tumultuous and harmonious. This dichotomy is further illustrated by Atsuko Okamoto and Myoung Su (Sienna) Ko, who find peace by injecting tension. They guide viewers through a balancing act of contrasting elements; from cool and warm tones to the dual experience of movement and stability.

Viewers are exposed to a delicate vulnerability in the works of Blair Martin Cahill, Lisa Fromartz, Monica Delgado, and Russell Bellamy. Each artist redefines perception and creates depth and meaning through layers. Meaning is derived from the relationship between each layer, and audiences are moved towards self-reflection as they consider the juxtaposition of seemingly contradictory elements. That correspondence between visitor and artwork is further accentuated by George Goodridge, Jon Merritt, Amy Chan and Jane Lincoln . The audience is present as they participate in an organic dialogue between space and work. The dimensionality of their works reach out and communicates with viewers, pressing for interaction and seeking to be given meaning.

Much like Rosecrans, John W ilson?s work holds architectural elements. Influenced by his background in architecture, W ilson?s art provides structure and shape without instruction; simply permitting the non-objective to exist. The works of Sean Mick and Roberta Estes exhibit the spirit of geometric abstraction as expressed by Mick, who describes his work as ?reductive visual language.?Clark Rendall, whose works are inspired by bodies of water, also embodies this essence of de-constructing, allowing the audience freedom over meaning. It is through mastering the genre of geometric abstraction, that these artists create a pure concept that challenges perception and redefines reality. The exhibition opens on Thursday, July 13th, 2017, and will remain on view through August 18th, 2017.

Guang Z hu Brooklyn, N Y Can we feel mathematics as synesthetic experiences in their visual expression?Can computer code be the medium for mathematical expressions to be less reasonable, but afflatus. I romanticize mathematical equations. To me, they seem to live through stories and places. To feel mathematics is to connect with its inherent creativity through our very senses in the way that we experience works of art. I study mathematical formulas and write computer code to visualize parametric equations. Based on this process, I produce wood block prints, screen based installations, and software.

Music Notes , 2013 Inkjet print 25 x 33 in (63.5 x 83.82 cm)

Patti Sam per M ontclair, N J My current work represents on ongoing study of patterns, lines and shapes concealed or overlooked within the distractions of daily life. Patterns emerge from circumstances, social environments, or from a singular aspect of life. Color is essential in manifesting emotion of the singular within the whole, and integral to the balance of the whole as one. W ith the progression of life, its conditions and emerging technologies, conventional social patterns, physical shapes and colors evolve and transform themselves. From social to virtual, psychological and physical, simplicity lies within the layers of complexity. In the physical creative process, I integrate a collaboration between my own photography, graphic design and drawings, which generate the underlying foundation for each painting.

Coffee Shop, 2012 Oil on panel 16 x 20 in (41 x 51 cm)

Tech Store, 2013 Oil on panel 16 x 20 in (41 x 51 cm)

Rush Hour, 2013 Oil on panel 16 x 20 in (41 x 51 cm)

St acy L ovejoy Por tland, OR Creating art takes me back to my childhood - that time when you admire water drops which sparkle in a sunny ray; seek funny characters in a rug; giggle over your puddle reflection and smile when a gentle wind tickles your cheeks. A time when you are happy-go-lucky, sensitive, almighty, and sometimes naive, but always genuine. I am an eternal child and art allows me to maintain this state of being. The main idea of my art is to awaken people, tickle their mind, and say: "Hey guys! This world is too simple to be taken so seriously!" I wish for people to realize that being an adult is the same as being a child, but with far more benefits. As an adult, you belong to yourself and the most important thing is that you have a choice! It means you can have as much candy as you wish, even instead of dinner. And you can wear your clothes inside out, crawl the whole day instead of walking, and climb a tree with a candelabra on your head. The more you play and do such spontaneous and silly things, the more you feel alive. I wish to inspire people to abandon their shells and finally realize we are all free and almighty, and that all we've got in life is our choice, because we create our own reality.

(Top) United Parts of the Dream, 2015 Acrylic on wood panel 20 in (50 cm) (Bottom) Change Is Irreversible, 2015 Acrylic on wood panel 20 in (50 cm)

L ar ry Jones Ter re H aute, I N Larry Jones's career spans 50 years and includes ceramics, printmaking, jewelry, historic conservation and sculpture. The submitted pieces are an abstract exploration of having memories triggered by a news item. As a graduate student turning 70, he found himself reexamining memories of emotional and physical abuse suffered as a child.

Abuse #2, 2015 Cone 6 stoneware, paint 14 x 10 x 15 in (35.5 x 25.4 x 38.1 cm)

R yot a M atsum oto Tok yo, Japan

Matsumoto?s artwork reflects the morphological transformations of our ever-evolving urban and ecological milieus that are attributed to a multitude of spatio-temporal phenomena influenced by social, economic and cultural factors. They are created as visual commentaries on speculative changes in notions of socities, cultures and ecosystems in the transient nature of constantly shifting topography and geology. The artwork explores the hybrid technique combining both traditional media (ink, acrylic, graphite, and photo collage) and digital media (algorithmic processing, parametric modeling, data transcoding and image compositing with custom software ). The varying scale, juxtaposition of biomorphic forms, intertwined textures, oblique projections and visual metamorphoses are employed as the multi-layered drawing methodologies to question and investigate the ubiquitous nature of urban meta-morphology, the eco-political reality of the Anthropocene epoch, the advancement of biomaterial technologies and their visual representation in the context of non-Euclidean configuration.

The Solar Flares for Transient Modulation, 2015 Mixed media 23 x 32 in (83 x 59 cm)

Furthermore, the application of these techniques allow the work to transcend the boundaries between analog and digital media as well as between two- and multi-dimensional domains. His compositional techniques imbue the work with what we see as the very essence of our socio-cultural environments beyond the conventional protocols of architectural and artistic formalities, and that they conjure up the synthetic possibilities within which the spatial and temporal variations of existing spatial semiotics emerge as the potential products of alchemical procedures.

D anielle Feldhaker Tel A viv, I srael My primary practice is painting with mixed mediums on transparent Plexiglas and plastic sheets (such as bubble wrap and PVC) and creating large-scale installations. My installations comprise paintings made of transparent materials with three-dimensional objects and integrate video films and LED lights. I seek to bring street and graffiti art from urban spaces into my work and integrating them with private personal space to create relationships between internal and external, opaque and transparent, concealed and revealed, and soft and hard. The transparent plastic platform facilitates and reveals the stages in the work process, almost like a painting turned around to show the reverse. The transparency gives away the ?behind the scenes? action of the work and causes the painted elements to look as if they are hovering above the surface. The paint seems to be able to take off into space. I work with a limited palette of black, red, blue, and yellow, referring (among others) to Kandinsky?s

(Top) Untitled, 2016 Mixed media on plexiglass 23.5 x 15.5 in (60 x 40 cm) (Bottom) Untitled, 2016 Mixed media on plexiglass 19.5 x 15.5 in (50 x 40 cm)

abstraction, Mondrian?s geometry and color palette, and influences from architectonic spaces. Rhythmic, abstract brushstrokes and spots of color are located alongside of geometric elements which form a boundary for the works delineating their contours. The geometric forms convey a sense of emotionally-laden, floating elements, seeking to purchase a handhold in a world eluding all definitions. In addition to paint, I integrate collages of various materials, such as cut-outs from PVC wallpaper with various patterns and color schemes, and long plastic strings unrolling from the work to the floor. Along with my formalistic, abstract, and geometric paintings, is a world of dense drawings, with miniature, laborious images looking like encoded hieroglyphics. This is an ?other,? autonomous world of images with numerous symbols, some taken from reality but most emerging from the imagination. W hat interests me is the possibility of taking over a given space, creating an intervention within it which disrupts it or creates a new visual space through the use of plastic materials. They may be rigid or soft and flexible, enabling me to create 3-D space and objects which may be transparent or semi-transparent. Through this construction process, I examine the multi-layered visual information and create painterly superimpositions through which I present the image, while having it partially hidden and other parts of the image are revealed.

Sabre Esler Atlant a, GA

(Left) Canon II, 2017 Plexiglass, siver plated wire, wood base 17 x 17 x 3 in (43 x 43 x 7.6 cm) (Right) Multiplicity, 2016 Oil on canvas 30 x 30 in (76.2 x 76.2 cm)

My work explores the imperfect machine of the mind and their pathways and connections. Taking neurology, psychology and biology, I create hierarchies of pattern. I am interested in seeing the unseen; exploring personal truths based on perceptions. Thoughts are interpreted as complex mathematical hierarchies, that weave endlessly. The process begins with fabricating a sculpture that showcases an aspect of thought patterns shaped by an event. From a sculpture, I create paintings and prints, which could be interpreted as residual after affects of a real event, much like a memory. This practice allows me to continue to change, adapt and explore the patterns and create hierarchies through layering techniques.

I explore combining painting and printmaking or painting and sculpture to create hybrid pieces. By combining materials and practices, I am experimenting, much like a scientist does when exploring hypotheses. A recent body of work uses mapping of the receptor networks for neuron function in the brain during PTSD episodes. My current body of work examines problem solving strategies and innovation. The question in this case is, how does an idea take shape? Many of my pieces incorporate cloud and fog imagery where the pattern is elusive. The layers develop and crystallize as the structure of ideas form. The result is to seek a greater understanding of the complexities of the human condition, which is both universal, and yet unique and personal to the individual.

John W ilson M anteo, N C The properties of my paintings; line, color, geometric shapes, precision, are all things I used for thirty years practicing architecture. They are things we all see in nature, in the built environment, and in other works of art. But each of my works is created as something new, something to seen for the first time, something never before encountered. In contrast to my life as an architect, I now work alone, without clients, in a studio.

requirement is to my expression which, in the end, creates an opportunity for a viewer to experience, to embrace, to reject or to ignore the work, all equally valid reactions.

I use flat-tones hues organized on square canvases in geometric shapes with hard lines. The colors cover the canvas from side to side and around the edges. The single

The painting imitates nothing. It is a new thing, a new fact, a new creation, responsible only to itself.

In representational art, the painter is given something, something from nature or from the built environment. He takes something recognizable, something previously seen. In creating my non-objective work I am given nothing, I take nothing.

W ilson Diptych, 2017 Acrylic on canvas 24 x 52 in (132 x 61 cm)

Sean M ick Jam aica Plain, M A My work represents subjects, situations, and emotions in a reductive visual language. The indelible impressions of our experiences shape what we are inside: our contradictions, hopes, addictions, ego, love, self awareness, doubts ? all part of a complex composition that exudes a type of wavelength, vibe, or presence that is projected outward. This work looks to capture sensory observation, beyond the mere visual, through geometric constructs, interpretive motifs, and color harmonies. Each composition is drawn from the immaterial and intangible by way of what we can?t see, but feel, with the intent of being equatable as to who, or what, they are without identifying race, religion or origin of the subjects.

Em, 2016 Acrylic and polymer on cradled wood panel 24 x 36 in (60.96 x 91.44 cm)

Atsuko O kam oto Boynton Beach, FL Atsuko Okamoto is a geometric abstract artist born in Yokohama, Japan. Through her art Atsuko explores the ?architecture of the imagination" in which diverse geometric elements are harmonized within a holistic visual universe. Her art strikes a delicate balance, dynamic tension and integration of "cool" geometric forms accentuated by "warm" evocative colors. Dual hemispheres are united by a bold central geometric element. The precise placement of geometrics evokes a sense of movement (freedom) and stability (control) among contrasting (yin/ yang) hemispheres. Clean lines bring the composition into pristine focus. ?Atsuko?s art reveals the rich and riveting vision of abstraction by a gifted artist,? said noted New York art critic Ronny Cohen. ?Her sophisticated understanding of color and form are expressed in the dynamic compositions she creates. Through exquisite interrelationships of structures, shapes and hues, Okamoto?s vivid sensations of elements in movement and their suspension in space speak directly to the imagination. Each painting transports the viewer to a captivating pictorial universe where beauty and harmony reign.? Geo 2, 2009 Oil on linen 58 x 48 in (147 x 122 cm)

Jackie Tufford Jupiter, FL I am a visual artist that designs holistic geometric stained glass and stone wall pieces. My designs are inspired by nature, and I explore the energy patterns and history of stones used by ancient cultures. Stone healing can be dated back to the ancient civilizations in present day Greece, Egypt, Italy, China, Japan and India. These cultures used stones to enhance their physical and emotional health before current day medical systems were adopted. By studying and applying how ancient civilizations used stones in their daily lives, my desire is to help people today maintain harmony in their lives and within their own home the same way as our ancestors. Through visual appeal, design and knowledge of stone properties, I strive to create an experience, something observers can feel visually, emotionally and spiritually when in the presence of my artwork.

Midnight W altz, 2016 Hand-rolled stained glass, selenite, hematite, smoky & tourmalinated quartz and howlite 36 x 310 in (91 x 122 cm)

George Goodr idge M iam i Beach, FL Throughout my career, I have tried to produce unique and meaningful works that are both timely and playful. My works may question diversity, visual kinetics, identities, object-to-object relationships or real world concerns. Many of my sculptural works could be thought to be somewhat figurative and nonrepresentational while blurring the lines between sculpture, painting, architecture and installation. I tend to make works that can be translated in multiple ways that question rather than arrive at specific conclusions. The works submitted have concerns with visual kinetics,form, color, object to object relationships and at times possess underlying sociological references. These dimensional paintings, which I initiated in the late 1980?s, have influences stemming from Minimalism, the Post W ar New York School, Ellsworth Kelly, Turi Simeti, Kenneth Nolan, Anne Truitt, Charles Hinman and others. Inspired by the aforementioned art movements, I have created an organic, biomorphic and at times anthropomorphic approach to three-dimensional stretched canvas works. These submitted works are created by stretching canvas or other fabrics over a variety of wooden armatures. W ith many different disciplines approached during production, the final outcome of my sketching, building armatures, stretching fabrics, painting and clear-coating never ceases to surprise me. W ith many requests for exterior display, I have begun treating the raw fabrics with marine resins and top coating with either an automotive, marine or aviation grade clear coat with high UV protection. Over time, I have become very interested in Public Artworks through realizing my work?s potential in this area. I have always considered many of my works to be maquettes for producing significantly larger works and have been awarded projects based on my smaller works as maquettes.

Collective Conversations, 2016 Acrylic on resin treated stretched canvas with auto-body clear coat, wood armatures 36 x 48 in (91 x 122 cm)

These larger-scaled works have been produced in a similar manor but from stainless steel tubing with fiberglass laminations or lost plaster molds. I remain consistently curious about the potential and direction of my artworks evolution, which seems to take on an existence separate from myself. Clearing my mind of prior influences, I intuitively create forms and unlikely alliances from a first impression only to prompt invention.

M young Su (Sienna) K o Providence, R I Moment 1, 2015 Acrylic on canvas 50 x 50 in (127 x 127 cm)

In fairytales, it is possible to talk about right and wrong, good and evil and beauty and ugliness with a straight face. The real world, however, is more complicated; the real world cannot be described only in black and white. In my work, I am interested in the moment when two contrasting components coexist and balance each other. I am especially focused on tensions between perfection and imperfection, graphic aspects and painterly aspects, presence and absence and intention and accident. My uses of materials reflect my point of view about contradiction and balance. In my paintings, I use a combination of mixed media: acrylic paint including interference paint and fluorescent paint, varnish, iridescent wrap, traditional Korean paper, organza to explore texture, surface and color. In many of my paintings, I use a delicate and subtle color palette and play with gloss varnish and interference paints. W ith these materials, I create luminosity and visual complexity. My paintings are continuously shifting,depending on the amount of light they reflect and the viewer?s viewpoint: their height, angle or distance from the painting. As part of my interest in divergent properties, my work is painterly and graphic at the same time. To emphasize the graphic quality, I often use op art-like patterns, composed of geometrical elements: including dots, lines and shapes. One of my paintings, Moment I, reflects my idea of coexistence between polar opposites. In this piece, systematic lines and irregular lines create an illusionistic pattern. Moment I is intense, rigid and graphic from the distance, but closely, it is subtle, flawed and organic. My work has been built on the essential themes of human meaning: right or wrong, rules or chaos and perfection or imperfection. These opposite values are two sides of the same coin, and they always change depending on where you happen to be standing. Like my work, the world is made of the mingled patterns between polar opposites.

Blair M ar tin Cahill O jai, CA

I process visuals in layers. W orking in an array of different materials, my work involves tiers that either reveal or correspond graphically to one another. As a traditionally trained artist, I am extremely interested in the new dynamic of art and use an array of modern tools in conjunction with long established techniques. By combining traditional methods of foundry casting and textile production with cutting edge technology, I find infinite opportunities for producing completely unique fine art. My new work encapsulates the traditional with the modern and juxtaposes dissimilar materials, such as steel and silk.

Sphere 24, 2015 Polished metal with inlay of embroidery on silk 28 in (71 cm) - Diameter

Jon M er r itt N ew burypor t, M A I am always experimenting with a range of geometric art projects. Geometric forms are immanent in our environment and so I collect points of inspiration everywhere I go and I also look to glean additional components to ongoing bodies of work. Geometry in art also has a diverse and unfathomably deep history from which I take many opportunities to consider. I believe in showing geometric art a mirror of itself. I have invested much of my attention and interest to a 20th century abstract painting and sculpture as a model for building artworks. Not long ago, however, looking back in that vast history, I came to questioning whether or not the application of geometry in the decorative arts of earlier times had a greater depth of field and more nuanced mechanisms of delivery. I find geometricized animal

Vraxtor , 2017 Acrylic on Eucaboard panel 18 x 23 in (46 x 84 cm)

representations in textiles, for example, to be more liberatory forms of art than monumental, pure abstractions, because they originate from lived experience rather than pure fantasy. Likewise, the Egyptian obsession with geometrized lotus motifs demonstrates a very artful enjoyment of plant matter within their world view. Such stylization can be a very active way of experiencing our world, as opposed to what are perhaps more reifying fantasies. W ith my newest projects I am attempting to mix-up a divide between the two dominant manners of geometric art. W hat parts of one art form can be used to renew another? Geometric art is here to stay, but how can its power be demonstrated as well as augmented in our present moment?

CP-1, 2016 Acrylic on MDF and eucaboard panel 34.5 x 16.5 in (86 x 42 cm)

Bisix, 2017 Acrylic on wood and eucaboard panel 22 x 22.5 in (55 x 57 cm)

A pr il H am m ock Baton Rouge, LA How one?s mind can potentially control the environment, and the effects the environment has upon one?s mind, are major focuses with this series of works. I suggest these concepts through fragmented, mutated, cloaked figurative and anthropomorphic imagery. Interlocking spaces and forms hints at the interchangeability of time and space. Throughout 2017, I'll be taking this concept further, focusing more on how the current states of happenings can potentially divide and/ or connect. I've also been exploring the idea of time lapse; how it can alter one's mind as well as the environment. The raw nature of human thought, especially concerning mortality and sensuality are hinted at with these new works. Though, in the past, my work has been influenced greatly by the abstractionists ? Baziotes, De Kooning, Kandinsky, Kline, Matta, Pollock, and Rothenberg ? recently I?ve been investigating them more critically regarding their psychological connections to color and space.

Axis, 2016 Acrylic, ink and graphite on canvas 24 x 30 in (61 x 76 cm)

L isa From ar tz N ew York, N Y All of my work is an expression of my process of constantly questioning my relationship to the visual images and content I encounter daily. In my collage based work and sculpture assemblages, I take commercial materials, found objects, and printed images, all culturally coded by their original, intended contexts, and recombine them in a kind of visual mash-up, a remix of unintended juxtapositions that assigns new value and meaning.

create compositions of color, form, and shadow. I photograph them and further develop them digitally.

W orking with the luminosity of translucent materials and the projections of continuous tones, I combine painting, sculpture, and light. My work is an attempt to reflect both the complexity and the connectedness of everything in a way that is visually powerful enough to engage the viewer while subverting ordinary perceptions. Artistic Collage and assemblage as compositional practice is visible but not foregrounded as strategies allow me to be improvisational as my primary focus. well as intentional. My process of selecting My choice, as an artist, to engage in a daily and sifting these images and objects is my struggle to make sense of things and to way of being mindful in the face of an express it in two and three dimensions, while explosion of information aimed at shaping potentially interesting in and of itself, does our thoughts and emotions. not take me where I want to go. I want my In the Zeno series, I experiment with the work to express both the impossibility of expressive properties of light. I project light fully understanding our predicament and the through my assemblages of metal, found passionate desire to confront it, to see what's objects, plexiglass, and translucent vinyls to in front of us with clear eyes and a sense of wonder, and to imagine the rest. I want the (Top) Light At The End, 2012 viewer to be more than edified. I want her to vinyl, metal, plastic, fiber optics be moved. 13 x 12 x 11 in (33 x 30.5 x 2.5 cm) (Bottom) Ridde in Red, 2004 W ood, copper, plastic 30 x 20 x 22 in (76 x 51 x 56 cm)

Kyle Y ip Toronto, ON Multimedia artist Kyle Yip also known as Discrete, is a Toronto based DJ, producer and label owner of Savvy Records. He is known not only for his Juno Award Nominated full-length album, but also his remixes for international artists such as Brabe, Society of Silence and many more. An affinity for the commingling and contrasting sounds and playful experimentation inspired the birth of Savvy Records, a platform he created to fill a distinct niche for the music he loves. Since the labels conception in 2010, it has released singles and albums from such notable artists as Bram Faber, Der Amethyst, Donk Boys, Frankie, Paradroid, Phil Denton, RenĂŠ van Munster, S.O.S., Thomas Gwosdz, Thore Pfieffer, Xavier LeĂłn, as well as his own productions. His label also hosts the Savvy Records Podcast, an excellent resource for discovering new and dynamic music for newcomers and the more seasoned electronica listeners alike. Following a strong library of solo releases, 'The Midas Touch' is Kyle's first full-length solo album. Kyle Intertwined his love for jazz, disco and soul with a deep-house and techno tinged sensibility. This medley of inspirations were crucial to constructing a sound that is not only exuberant and enigmatic, but also nostalgic and thoughtful. This rare fusion has garnered Kyle a nomination for 'Best Electronic Album of the Year' at the 2016 Canadian Juno Awards in Calgary. W hile Kyle is an active presence in Toronto's nightlife, often throwing parties for his Savvy Records label, he is equally involved with an international community of producers and musicians. His accolades from distinguished artists such as DJ Sneak, Mark E, Mousse T and Pezzner can attest to this as well as his releases on labels such as Defected Records and Get Physical Music.

Pepto-Abysmal, 2016 Acrylic and resin on wood panel 48 x 48 in (121.92 x 121.92 cm)

The future holds promise for Kyle and Savvy Records. W hile eagerly awaiting a handful of upcoming releases for Savvy Records on the horizon ? including a remix EP for 'Always No' from 'The Midas Touch' ? he is also perfecting his next Discrete album, the sophomore follow up to 'The Midas Touch' LP. Amidst the sound and the fury, Kyle maintains a strong vision, with sights fixed upon a sound that can breathe beauty, communion and transcendence into us all .

M onica D elgado N ew York, N Y I am interested in paint?s physicality and materiality, which prompts an exploration of paint?s properties and use of the medium without actually painting. My work aims to question the conventional perceptions of painting, explore the possibilities of what painting can be, and to create ambiguity between painting, sculpture and object. Acrylic paint is dried in drips or strips, then it is layered, stacked, rolled, draped and hung, or wrapped around objects. Paint is used to create actual three dimensionality instead of the traditional notion of using it to render the illusion of three-dimensionality on a two dimensional plane.

W hat's A Painting #5, 2017 acrylic paint 16.5 x 16 in (42 x 40 cm)

A m y Chan H enr ico, VA My paintings are fragments of nature multiplied into bizarre abstraction. W ith an interest in historic pattern, protozoa, coral reefs and outer space, I build a vocabulary of shapes that relate to the natural world but are never clearly real. I research historic color palettes and find satisfaction in garish combinations that refer to the familiar culture of cheap plastic goods and pop nostalgia. I often work on multiple pieces at once, combining energetic layers of gouache, acrylic, airbrush and screen print. The paintings draw from design history to invent their own stylized language of forms from nature. This in conversation with exaggerated shapes and a joyously artificial color palette help to stage a darkly humorous view of the natural world.

Cross Colorway, 2015 Gouache and acrylic on panel 22 x 22 in (56 x 56 cm)

Point Reyes, 2015 Gouache and acrylic on panel 13 x 15 in (33 x 38 cm)

Jane L incoln East Falm outh, M A

I concentrate on the precision of color and the intrigue of color relationships. These paintings consist of horizontal bands of color. W hile a strong color configuration is clearly visible, these paintings reveal themselves gradually, and with changes of light and position. The medium is acrylic on BFK Rives paper, collaged onto hardboard. There is a three-dimensionality to both the assembled edges between the color bands and the edge of the entire piece. Each work stands away from the wall an inch, allowing for a colored shadow to project onto the wall. Some works are derived from observations in nature, while others are based purely on color combinations. Some works may trigger color memories, while others constitute new experiences.

Telluric Turquoise, 2016 Acrylic on paper, board 18 x 12 in (46 x 31 cm)

Blaine Breaux R iver R idge, LA

Simple elements of line, color, and shape are focal points of my abstract work. Combining these elements into a complex, disordered composition forms my core concept. Using both hard edge and color field painting, these elements are repeated in unique ways to create bright, hopeful works with balance and harmony that exist through the intensity. The goal is to energize and force the viewer to travel through the entirety of the work and its chaotic atmosphere. Repeated shapes and colors were used to create a sense of fluidity across the surfaces. The interaction of geometric shapes and flat color combined creates tension and brief areas of spatial illusion which add depth to the flatness that is palpable. There is never a defined endpoint at the beginning of the process; the elements provide the control of the composition.

Pandemonium, 2016 Acrylic and ink on canvas 40 x 60 x 2 in (102 x 152 cm)

Russell Bellam y L eesburg, FL Exuviae is body of work that deals with the inherent vulnerability of life during times of change. In order for many life forms to become stronger, self sufficient and powerful they must first shed their skin or exoskeleton. This results in a period of weakness where they are susceptible to the dangers of their environment. Light weight, fragile, cracked, brittle and often broken or fragmented these objects show signs of struggle and perseverance. They can be interpreted as either the ghostly remnants of aged strength or a symbol for continued endurance and survival that has transformed or evolved into a life more equipped for survival.

Slough, 2017 Epoxy, white wood, steel and hardware 36 x 36 x 3 in (91 x 91 x 7 cm)

Rober t a Estes Seneca Falls, N Y

"The need to create art is more than can be put into words, because you have to release it from a place that can?t be defined." Painting is my outlet, and my art usually evolves organically: without a specific destination in mind. But when my life is challenging to the point of near breaking, my paintings tend to become more exacting. W hen I feel as if my world is spinning out of control, I subconsciously lean toward art that reflects a more organized abstraction, utilizing geometric harmony and gradation in artistic construction. These paintings embrace finite lines, shapes, and borders. Imposing order on my life is an inexact science, and articulating through art is highly nuanced. Manipulating color and texture on canvas is a multifaceted means of communication, with mixed messaging expected...and encouraged. Art is a personal experience. My paintings will either say something to you or not? but when they do, what you hear or how you interpret is never incorrect. Understanding and appreciating abstract art has no limitations, and, no one is wrong. Not me...for painting it. Not you...for getting it. And not someone else...for passing it by without hearing the slightest whisper.

(Top) 1966, 2016 Acrylic/ mixed media on canvas 12 x 12 in (30 x 30 cm) (Bottom) i-cubes, 2016 Acrylic/ mixed media on canvas 12 x 12 in (30 x 30 cm)

Shar m en L iao L os A ngeles, CA My current work involves a complex process of pleating, printmaking, folding, cutting and unfolding. Each step transforms the piece into something else. Cutting into the folded pattern allows half of the image to ?pull through? the paper to its opposing side. There is, of course, the prime image but there is an image on the reverse that relates to it in pattern but is very different in effect. The finished art has become double-sided. These techniques reflect my experience and interest in textiles, math and painting. I like to consider my etching

press and printmaking as merely a jumping off process. My one-of-a-kind artworks have little to do with traditional printmaking and its editions and repetitions. The technique of monoprint/ monotype invites experimentation by nature, but the magic really happens when it is used as a base for other processes to be Imposed. My work is all about process. I do not try to build to a preconceived and calculated goal; I invite chaos and play and experiment. That's where my creativity lies and it is the heart of my work.

Binary 05, 2016 Paper folding and cutting from one of a kind monoprint 20 x 26 in (51 x 66 cm)

Clark R endall Brooklyn, N Y

All works are inspired by bodies of water, which while naturally existing, are extraordinarily colored through natural phenomena (algae, mineral deposits, geothermal activity). Lakes, rivers, and waterfalls, are distilled down to their purest forms and colors.

River of Five Colors, 2016 Acrylic on canvas 20 x 48 in (51 x 121 cm)

About Us JanKossen Contemporary focuses primarily on abstract, conceptual art created by both established and mid-career international talents. JanKossen has two locations, organising regular exhibitions in New York, USA and in Venice, Italy (2017). Head administration is in Basel, Switzerland. Besides participating actively during selected, international art fairs, the gallery specializes in private sales in the secondary market with a focus on the work by European, Chinese and American twentieth century and contemporary artists. The gallery also provides advisory and collection management services. The gallery is involved in the production of its artists and is committed to a strong editorial policy with the publication of exhibition catalogues and artists' retrospectives.

Address Switzerland

Delsbergerallee 61 CH 4057 Basel, By appointment only USA

529 W 20th St, 6th floor New York, NY 10011, United States

Contact Email: info@jankossen.com or: jankossen@gmail.com

Italy

Palazzo Corner Spinelli San Marco 30124, Venice Seasonal Gallery, educational instituteand showroom

IMPRESSUM CONCEPT, EDITING, AND REALIZATION Jasmin Kossenjans DESIGN Kimberley Villamor and Victoria Borisova PHOTOGRAPHY Provided by Artist TEXT Jasmin Kossenjans & Kimberley Villamor No part of this book may be reproduced, stored in a retrieval system or transmitted in any form, or by no means, electronic, mechanical, photo-copying, recording or otherwise, without prior permission of the publisher.