Emblemata by pazofineart

EMBLEMATA E.E. IKELER KEN WEATHERSBY Curated by John O’Connor December 4, 2021 - January 20, 2022

www.pazofineart.com

E.E. IKELER, UNTITLED (FLOWER), 2021 ©️ E.E. IKELER

A Gloved Hand Holding a Pane of Slightly Mirrored Glass E.E. IKELER AND KEN WEATHERSBY Artists have long incorporated, embraced,

grid’s complexity – as pattern, structure, flat

and denied the grid as a primary structure

surface, deep space, ground, optical plane, and

history – as Emblemata.

contemporary

constructions

art. E.E.

The

paintings

Ikeler

and

and Ken

Weathersby are in a reciprocal conversation

In the works selected for the exhibition

with those historical artists and makers who

Emblemata,

have grappled with the grid’s centrality in

closely investigate the boundaries between

Western Modernism. Each artist, through their

abstraction and physical, tactile reality. Both

utilization of processes primarily associated

artists infuse aesthetics of the past into their

with

insertion,

practices as a means of re-contextualizing

embedding, parquetry, mosaic), extracts new

the lineage and tension between abstraction

and excitingly rigorous objects that move

and ornamentation. Ikeler plumbs the depths

fluidly between representation, abstraction,

and limits of perceived reality through their

and ornamentation. In extremely distinctive

vibrantly

ways, both Ikeler and Weathersby have forged

concise text, and sensitively honed surfaces.

new pathways in our understanding of the

Weathersby inserts carefully cropped images

decorative

arts

(inlay,

Ikeler

patterned

and

Weathersby

surfaces,

each

suggestively

of ancient sculptures into geometric grids in a way that flattens time and space, proposing a relationship between the worn grey patina of an ancient Roman figure, and a black-and-white grid painted by the artist. Both Ikeler and Weathersby make sensitive, rigorous, slyly humorous works that maintain an equipoise between the functional materials of their supports (stretchers, panel, gesso, raw canvas, tiles, resin) and a shifting, elusive, deceptively complex matrix.

INSTALLATION VIEW: EMBLEMATA | DECEMBER 4, 2021 - JANUARY 20, 2022

MORPHOLOGY Both Ikeler and Weathersby articulate intricate

Their investigations reveal the rich power of

patterns within complex textural and formal

paintings both as temporal objects and as

systems, amidst a surface or planar flatness. The

vehicles of transmutation. Both artists’ works,

almost burnished flatness of Ikeler’s surfaces,

therefore, encompass morphology’s linguistic

for example, compresses the wild sensory

focus (the study of the forms of words and

phenomena that they endeavor to manifest,

symbols), and embrace morphology as a

like a form of crystallization. Both Ikeler and

method of biological interrogation (the study

Weathersby embed and inlay materials into

of relationships between the exterior of a form

their painted grids in diverse ways.

and its internal structure). 6

LANGUAGE & STRUCTURE Weathersby’s

paintings

and

f reestanding

structures cause us to question how and why we find meaning in images. He first crops

photographs

classical

sculptures

in filmic ways, then inserts these modified documentations into his hand-painted, blackand-white grids. In doing so, Weathersby is proposing relationships, yet leaving it to us to decide if there’s any meaning to be found. As we take in Weathersby’s paintings, we gradually become aware of our propensity to compare in order to find likeness. Is there any symbolism here, or even any relationship at all, between Weathersby’s images and grids? Once we engage in this proposition, we find subjectmeaning to be elusive, and find ourselves back at the formal, left to absorb the work’s subtly fascinating shifts of color, brushwork, space, and pattern. The meaning is in the experiencing of the visual, the tactile, or even the whole object itself. It’s a slow-reveal revelation. Concurrently, Weathersby’s paintings ask us to acknowledge the function, beauty, or beautiful

INSTALLATION VIEW: EMBLEMATA | DECEMBER 4, 2021 - JANUARY 20, 2022

functionality, of his painting’s guts – its stretchers, staples, gesso, canvas pulled taut – as equal to the facing surface we’ve been taught

rigorous, yet the reconfiguration of their grids

to focus on. His works flatten the hierarchy

and patterns seems to resolve at the origin

between an artwork’s basic ingredients and

point of each work. Through the meticulous

the alchemy that materializes f rom their

embedding of vibrant handmade tiles into

combination. Again, like our experiencing of

their paintings’ surface patterns and text,

the world, understanding and meaning can be

Ikeler questions the ways in which language

attributed only after the fact.

functions when made to conform to a gridded pattern. Ikeler’s works are asking us to imagine

Ikeler’s investigation into the structural and

relationships

ornamental morphology of painting is similarly

between letters and shapes. The final uniformity 7

between

words

and

colors,

INSTALLATION VIEW: EMBLEMATA | DECEMBER 4, 2021 - JANUARY 20, 2022

of Ikeler’s resin-coated surfaces further flattens

Ikeler seemingly approaches their grids from

and conflates these relationships – they are all

each panel’s verso. They modify, manipulate,

the same surface. Like Weathersby’s image

and mediate their grids to infuse moments of

and pattern juxtapositions, Ikeler is asking the

transcendence into their works. The patterns

viewer to look for meaning where they may be

Ikeler renders undulate and mutate according

none. This search for symbols and connections

to an unseen force, be it linguistic, sensory,

represents a balancing act between affirmation

spiritual, or bodily. Their paintings move and

and refutation of humanity’s desire for reason

shift as the body moves, fluctuating with

and

imperfect precision, like mosaic murals of a

systemic

logic.

Another

slow-reveal

cathedral, or the variegated colors that erupt

revelation.

across botanical diversity.

Like Weathersby’s image and pattern juxtapositions, Ikeler is asking the viewer to look for meaning where they may be none. 8

HUMOR Amidst the exhibition’s persistent questions

Weathersby’s

almost

comically

deadpan

regarding of the power of the grid, the structure

mashing of ancient images with modern grids

and function of paintings as objects, the

reveals relationships and posits juxtapositions

transcendent and immaterial nature of images,

that are deceptively funny. Why is an ancient

and patterns as semi-hypnotic mediations

Greek figure in that grid? Why is it cropped

between the present and past, a sly humor

that way? The punchline is that you even have

pervades both artists’ works.

to ask. His freestanding structures portray a similarly subtle physical comedy.

The snippets of language in Ikeler’s paintings allude to the fallibility of the human body, at

They seem to be impersonating skyscrapers or

times in a tragicomic way. Ikeler’s words repeat

architectural structures (possibly those under

in the mind and reverberate as they sink in, as

construction, unabashedly displaying their

a nursery rhyme might convey a strange truth

beams and bolts), trying to attain the same

about human nature to a child. Ikeler’s tiled

height and stature. Yet they remain person-

letters form phrases that seem to echo, or ask

sized, subverting their own desires in order to

us to incant them as a way of manifesting – if

serve this scaled-down,

we keep rhyming Ikeler’s phrases, we might

human reality.

ward off some bodily injury. Or at least we’ll be poking fun at our own clumsiness.

INSTALLATION VIEW: EMBLEMATA | DECEMBER 4, 2021 - JANUARY 20, 2022

SURFACES & CONCLUSIONS compose

Their paintings attempt to codify the space

multifarious patterns via complex textural

between the mind and the body. In their

and formal methods of painting, plotting, and

hands, this space is tangible, physical, and

constructing. Their works’ intentional flatness

observable. It can be appreciated, challenged,

belies (or further embeds) the multi-pronged

and

investigations that each artist undertakes. In

time, and a little digging. Like a Gloved Hand

totally original ways, Ikeler and Weathersby

Holding a Pane of Slightly Mirrored Glass,

inlay text, images, colors, and patterns into

we understand what each word means in

their grids as a way to activate an extra-

isolation, but the whole, the implication, and

aesthetic experience. The works of E.E. Ikeler

the purpose, remain fantastically elusive.

Both

Ikeler

and

Weathersby

ultimately

changed,

with

intention,

and Ken Weathersby are rigorous, tough, transcendent, conf rontational, complex, and stunningly original.

KEN WEATHERSBY, 252, 2015 (ASSEMBLING DETAIL)

INSTALLATION VIEW: EMBLEMATA | DECEMBER 4, 2021 - JANUARY 20, 2022

E. E. IKELER’S WORKS

E. E. Ikeler BROKEN BONE / GO IT ALONE / STICK + STONE / CANT GO HOME, 2019 Aquaresin, net, and latex enamel on ACM panel 48 H x 56 W inches

E. E. Ikeler WHAT DOESNT KILL YOU, 2018 Aquaresin, net, and latex enamel on ACM panel 48 H x 56 W inches

E. E. Ikeler FROM NOTHING COMES SOMETHING, 2018 Resin, net and cast tiles on ACM panel 42 H x 48 W inches

E. E. Ikeler Untitled (Snowflake), 2021 Pigmented resin and cast tiles on ACM panel 30 H x 32 W inches

E. E. Ikeler Untitled (Pinball), 2021 Pigmented resin and cast tiles on ACM panel 30 H x 32 W inches

E. E. Ikeler Untitled (Almonds), 2021 Pigmented resin and cast tiles on ACM panel 30 H x 32 W inches

E. E. Ikeler Untitled (Flower), 2021 Pigmented resin and cast tiles on ACM panel 30 H x 32 W inches

E. E. Ikeler Untitled , 2021 Signed and dated Pigmented resin and cast tiles on ACM panel 18 H x 16 W inches

E. E. Ikeler Untitled, 2021 Signed and dated Pigmented resin and cast tiles on ACM panel 18 H x 16 W inches

E. E. Ikeler Untitled, 2021 Signed and dated Pigmented resin and cast tiles on ACM panel 17 H x 16 W inches

KEN WEATHERSBY’S WORKS

Ken Weathersby 255, 2015 Signed & dated Acrylic & graphite on linen, collage 21 H x 27.5 W inches

Ken Weathersby 252, 2015 Signed and dated Acrylic and graphite on linen, collage 37 H x 28 W inches

Ken Weathersby 250, 2015 Signed and dated Acrylic & graphite on linen, collage 40 H x 30 W inches

Ken Weathersby 248, 2015 Signed and dated Acrylic and graphite on linen, collage 20 H x 24 W inches

Ken Weathersby 257 twiggy, 2016 Signed and dated Acrylic and graphite on linen, collage 40 H x 30 W inches

Ken Weathersby 213, 2013 Signed and dated Paper, wood, glue 76 H x 16.5 W x 16 D inches

Ken Weathersby 194 (z), 2012 Signed and dated Acrylic & graphite on linen with wood, nails and linen 73 H x 36 W inches

Ken Weathersby 228 (est), 2014 36 H x 8 W x 3.5 D inches Signed and dated Acrylic & graphite on canvas, wood, metal

Ken Weathersby 240, 2015 Signed and dated Acrylic & graphite, wood 73 H x 16.5 W x 16 D inches

Ken Weathersby 284, 2017 Signed and dated Acrylic, wood, glue, linen bedsheet, mdf, metal hardware 64 H x 12 W x 12 D inches

INSTALLATION VIEW: EMBLEMATA | DECEMBER 4, 2021 - JANUARY 20, 2022

E.E. Ikeler (b. 1986) E.E. Ikeler’s paintings are a pathway to knowledge that appeals to the senses. Pieced together with various materials and abstracted in their structure, the work’s initial reading is welcoming and colorful. Initially organized by the grid, the images are twisted with patterns presenting a secondary piece of information revealed through language. The scripted messages are intended to fill in the void of communication that abstract painting leaves behind. The artist has called them “fake protest signs” while at the same time recognizing the shortcomings of an actionable protest. The work brings cohesion to daily conundrums, f ragmenting experience and perspective through process. Ikeler’s work is an investigation into the act of understanding. Words can manifest misunderstanding, and abstract painting alone requires analysis. By forging a relationship between painting and language, Ikeler hopes to find a universality that one or the other cannot attain on its own. “To comprehend, to fathom, to consider: that is the goal. The need to know as a desire in its own right is the driving force.” The artist uses the grid to articulate the underlying structure of the two-dimensional realm. She makes her grids by hand, using nets and other materials to imperfectly cast tiles that ultimately produce her own technology for communication. They’ve had solo exhibitions at Hemphill Fine Arts (Washington, D.C.), Jeff Bailey Gallery (Hudson, NY), Mulherin (Toronto, Canada), and Kent Place (Summit, NJ). They’ve also exhibited at Essex Flowers, EFA Project Space, Abrons Art Center (NYC, New York) and Yve Yang Gallery in Boston, MA. They are the recipient of a Leroy Neiman Foundation Summer Fellowship at Ox-bow School of Art in 2016; a Yale FLAGS Award,a Helen Watson Winternitz Award and a Beinecke Rare Book & Manuscript Library Research Fellowship (all Yale University, 2015). E.E. Ikeler received a BFA f rom The Cooper Union in 2008 and an MFA from Yale School of Art in 2016. They live and work in Brooklyn, NY. 36

Ken Weathersby

(b. 1963)

Ken Weathersby (b. 1963 Gulfport, Mississippi; lives Montclair, New Jersey) has exhibited his work nationally and internationally for the past two decades. He has recently mounted solo exhibitions at Pierogi Gallery (New York), One River Gallery (Englewood, NJ), NIAD Art Center Gallery (Richmond, CA), Some Walls (Oakland, CA), and John Cotton Dana Gallery at Rutgers University (Newark). His work has been included in group exhibitions at the National Academy of Art Museum (New York), Honey Ramka (Brooklyn), Odetta Gallery (Brooklyn), 57w57Arts (New York), Parallel Art Space (Ridgewood, NY), Mixed Greens (New York), Aljira Art Center (Newark), the Geraldine R. Dodge Foundation Gallery (Morristown, NJ), Barbara Walters Gallery at Sarah Lawrence College, Visual Art Center of New Jersey (Summit, NJ), Seven (Miami), Toomey Tourell (San Francisco), and IS Projects (Leiden, Netherlands), among many others. Weathersby has received numerous awards and residencies, most recently the Individual Artist Painting Fellowship by the MidAtlantic Arts Council/NJSCA (2016). His work has been written about in Hyperallergic, the Huffington Post, Brooklyn Magazine, the New American Paintings blog, Painter’s Bread, and elsewhere. Weathersby holds an MFA in Painting from Cranbrook Academy of Art, Bloomfield Hills, MI, and a BFA in Painting and Drawing from University of Southern Mississippi, Hattiesburg, MS.

Acknowledgments I am immensely grateful to my friends for their help, guidance, and support in organizing and preparing this exhibition, including E.E. Ikeler, Ken Weathersby, John O’ Connor, Michael Abrams, Daniel Rossi, Leslie Alvarez, Marcos Bermudez and Ariel Castillo. Special thanks to my assistant Victor de la Cruz for all his arduous work. Finally to all my family who supports my passion, vision and dream. – Luis Pazo

Design: Pazo Fine Art, LLC Editing: Victor de la Cruz Photography: Gregory Staley

First published in conjunction with the exhibition EMBLEMATA December 4, 2021 - January 20, 2022 Printed in the United States by Allegra, Rockville, Maryland All rights reserved. No parts of this publications may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system without written permission of the publisher. Front Cover: Roman stone coffin found in Sidney Gardens UK © BBC News