! Kathryn Markel Fine Arts!
2368 Montauk Hwy, Bridgehampton, NY 11932! ! Benefit Preview Reception: Thursday, July 10th 6 – 7 PM! VIP Party: Thursday, July 10th 7 – 10 PM!
Booth #509! ! !
529 W. 20th St, 6W! New York, NY 10011! ! 2418 Montauk Hwy! Bridgehampton, NY 11932!
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ROCIO RODRIGUEZ
Rocio Rodriguez's paintings and drawings consist of opposing and divergent forces. She examines the process of painting by taking apart her visual language and then reconstructing it anew from its various parts.! ! In her work she questions the boundaries of abstract and illusionistic space. Her compositions express open narratives that metaphorically suggest a world where nothing is fixed, differences are celebrated, and all is in the process of change. !
Rocio Rodriguez, September 22, 2013, 2013! Acrylic on wood, 16 x 20 in.!
Rocio Rodriguez, September 23, 2013, 2013! Acrylic on wood, 16 x 20 in.!
Rocio Rodriguez, July 25, 2013, 2013! Acrylic on wood, 16 x 20 in.!
Rocio Rodriguez, Portrait of a Painting! Oil on canvas, 36 x 40 in.!
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JEFFREY CORTLAND JONES Cortland Jones is, in his own words, interested in “locating, apprehending then releasing, the resistance of a color then surrendering to it, a hard edge as it softens, the slight peeking that come from covering and layering, that space between the wall and object, when shallow and deep appear the same, what its like to look through the fog, when a mostly matte surface shifts to a little tinge of gloss that hangs out at the edge, that place between misplacing and finding, how white can be both warm and cool at the same time, when you find that correcting is making it worse, the moment when a stable stack is on the verge of collapse, when contemplation breaks down and you go for it. ! Jeffrey Cortland Jones, Notice (Fugitive), 2014! Enamel, gesso, latex, and graphite on acrylic panel, 36 x 30 in.!
Jeffrey Cortland Jones, Erasure (Disclosure), 2014! Enamel, gesso, latex, and graphite on acrylic panel, 36 x 30 in. Â
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SUZANNE LAURA KAMMIN In her pain+ngs, Kammin uses the vernacular of 1970’s era design and electronica, exploring ideas of home, belonging and connectedness. Using a variety of processes, she juxtaposes hard edges with more gestural passages, crea+ng works that are both sleek and forgiving. A mixture of the humane and technological, these abstract pain+ngs can be read as blueprints of a longed-‐for utopian future. The materiality of the painted surface has always been a source of challenge and fascina+on for Kammin. In her recent pain+ngs, she balances various painted elements -‐ line, shape, color -‐ and uses addi+ve and reduc+ve pain+ng techniques to create a sense of wholeness and harmony. Using an array of tools and techniques, she contrasts smooth, minimal shapes of pure color against distressed and improvisatory painted passages to create a sense of expansiveness, magic and mystery. Suzanne Laura Kammin, Mother Box, 2013! Oil on panel, 40 x 40 in.!
Suzanne Laura Kammin, Maginot Line, 2013! Oil on panel, 14 x 14 in.!
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DON MARTINY As an artist, Martiny’s focus of inquiry is the gesture. In his own words, his interest “lies in freeing the gesture from the traditional rectangular shaped support and exploring its potential.” His goal is to create work that encourages a dialogue within the architectural space where it resides. The energy in the work is not not inwardly, but outwardly directed. The works are created on the floor; Martiny uses brooms as brushes to manipulate the “paint,” or polymer mixed with pigment.!
Don Martiny, Shuar, 2013! Polymer and pigment, 18 x 10 1/2 in.!
Don Martiny, Kitsai, 2013! Polymer and pigment, 54 x 38 in.!
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JUSTINE HILL Rooted respectfully in the history of painting, the current work derive from more understood renditions of landscape. The repetition of viewing and producing these “landscapes� furthered the concept that form/shape is symbol and learned. From that confirmation the forms became simplified to reveal only the most general and innate characteristics of said form. Mark or gesture as painting and art know it, or line as spoken by math and cartography, became the elementary tool used to chart movement and energy which are necessary in constructing a living landscape or Space. And in these Spaces constantly dealing with the frustration that even imagination is limited by personal knowledge.!
Justine Hill, Under One's Own Steam II, 2013! Acrylic and pastel on canvas, 54 x 44 in.!
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CHRISTIAN HAUB
Christian Haub's floats consist of dancing stripes of colored light made with the most mundane of materials - strips of acrylic - opaque, transparent, and fluorescent. He exploits ambient light and the innate properties of the dyes in plexi to create floating layers of color. ! !
Christian Haub, A Float for Doug Ohlson, 2013! Cast acrylic sheet, 36 x 36 x 3 in.!
529 W. 20th St, 6W! New York, NY 10011! ! 2418 Montauk Hwy! Bridgehampton, NY 11932!