ART ON PAPER PREVIEW BeneďŹ %ng the Brooklyn Museum Thursday, March 3, 2016 6:00pm to 10:00pm PUBLIC FAIR HOURS Friday, March 4 11:00am to 7:00pm Saturday, March 5 11:00am to 7:00pm Sunday, March 6 12:00pm to 6:00pm
:
On the Cover: Close Fade, 2015 ink on yupo 26 x 40 in
Joanne Freeman This series of drawings is made with gouache on handmade Indian Khadi paper. The source for the work can be found in the geometry of the city and the eects of light and shadow. They also reference graphic popular culture, specifically the simple direct designs of midcentury media. The loose geometry and idiosyncratic compositions I utilize, amplifies the simple interplay of space and color while also celebrating the odd gesture or random thought.
Covers 18-Yellow (b), 2014 gouache on handmade paper 18 x 18 in
Covers 18-Red (a), 2014 gouache on handmade paper 18 x 18 in
Covers 24 Green (C), 2014 gouache on handmade paper 24 x 24 in
Covers 24 Orange (A), 2014 gouache on handmade paper 24 x 24 in
Marilla Palmer Marilla Palmer's delicate compositions of flowers and leaves combine nature and theatrical embellishments, like sequins, glitter, thread and beads. Palmer's faux botanical studies are derived directly from fallen shadows of handheld twigs and branches, and incorporate mushroom spores with thread, pressed leaves with holographic paper, and glitter with watercolor. Â Look close and the work reveals details of intense study that are faithfully copied but made to be, as Palmer says, "more gorgeous, more exciting." Â It is what Mother Nature would create if she were casting a play. Â Marilla Palmer guilds the lily of nature in its perfection; delicate and ethereal, sensual and seditious, it is nature accompanied by flare. Bursting Petals, 2015 ink, watercolor, silk, thread, and pressed foliage on Arches paper 40 x 30 in
Edo on My Mind, 2015 mixed media on Arches paper 45 x 44 in
Dangling Heavy, 2015 watercolor, foliage, thread, sequins 22 x 30 in
Sarah Irvin In this work I write cursive text on a smooth surface with ink and then use a squeegee to destroy the marks I have created. The ink spreads across surface into a new composition. The resulting marks are the remnant of a written word, but the meaning has been confused and hidden. I am exploring a visual representation of thought while contemplating the limits of words as signifiers. Overall, my work is based on explorations of autobiography, family history, my genetic heritage, and memory. I've created systems within which I operate to represent these dierent concepts and specific histories or memories. In the current work I have focused on hidden text as a representation of memory, the abilities and limitations of the mind and the simultaneous power and shortcomings of language.Â
Lightly Frankly, 2015 ink on yupo 26 x 40 in
Outbreak, 2015 ink on yupo 26 x 40 in
Register, 2015 ink on yupo 84 x 60 in