SAF 2014 BROCHURE by STORY212

FEEL L I FE

Hyongnam Ahn Lili Almog Robin Antar Zana Briski Mia Brownell Joseph Carini Pablo Carpio Jamison Carter Stanley Casselman David Chang Jinwon Chang Sunjoo Chung Cristina Cordova Bradley Ehrsam Carole Feuerman Daniel Fiorda Danielle Frankenthal Richard Gabriele Borinquen Gallo Jedd Garet Auguste Garufi Ray Geary Chul Gwag Charles Hinman Sungchul Hong Robert Indiana Javier Infantes Daphne Jiyeon Jang Uk-Hee Jang Kaoruko Jae Yong Kim Yeon-Su Kim Young-Sung Kim Koh Sang Woo Esmeralda Kosmatopoulos HyeRimLee SangyongLee Seunghee Lee Jacque Liu Michael Lucero Richard Meier Heather Merckle Roger Mudre Antonio Murado Takashi Murakami Geraldine Neuwirth John Newsom Chau-GiangThi Nguyen Nam June Paik Sangwook Park Seungmo Park Youngha Park Antonio Pio Saracino Melodie Provenzano Karim Rashid Rostarr Ernestine Ruben Sarah Saito Jamie Salmon Carlo Sampietro Jackie K. Seo Zin Helena Song Kim Squaglia Jessica Stockholder Matthew Towers Andy Warhol George Whiteside Yang Yang Yoon Hyup

Summer Art Festival 2014

FEEL LIFE: THE IMMEDIACY OF ART BY PETER FRANK “Feel Life” seems an odd directive. Don’t we feel – sense, touch, feel our way through – life all the time? Well, do we? Despite all the Buddhist urgings and new-age admonitions peppering our inboxes and Timelines, we rarely stop to smell the roses, or even the asphalt. There is always something lying just over the next speed bump, something at which we’re aiming our feet, our hearts, our calendars; that aim, projecting forward, takes us away from what’s beneath and around us. We live not in the present but in the post-present, in what seems a future imperative. What stops us in our tracks, even for a minute? An occasion to savor, an experience happening right before your eyes, something anticipated but underestimated, a You Tube clip you want to play again. Something curious. Something gratifying for a few beats more than promised. Moving in for the kiss. Art. But not just any art. Well-conceived art, well-made, well-hung, well-lit. Art that bespeaks a human presence. Art that sells itself, with or without the wine buzz or the well-presented presenter. Art that allows you to imagine it holding its own in the oddest of places, that sticks in your memory, that fits perfectly into your fantasy or sparks a new one. Art that keeps you in the present for however long simply by getting you to acknowledge that you and it occupy the same time and place. Can art even do this anymore? Could it ever? Don’t we look at artwork through a lens permanently scratched by the marks of money, society, and time? Is an artwork anything more than a trophy? A lot of artists seem to think it is more, a lot more. Museum and gallery visitors do, too. Artists make art in order to scratch an abiding itch; museum visitors make their visits out of a combined sense of duty and adventure. And vice versa. That right there moves art beyond the monetary and into the realm of the ineffable. 2

You don’t need to be lectured for the umpty-thousandth time about art being a uniquely human endeavor. If we are monkeys with paintbrushes, what compels us to grab those brushes and make what we make with such purpose? What then compels us to look at those devices (painted or not) and assess how they work upon us? What is it that works upon us?

And in that assessment, how much are we admitting to the fact that these things work upon us at all? We protect our (imagined) autonomy by pretending that we work upon them, that they cannot have dominion over us because we’re the judges and they’re just objects, mere souvenirs (and measures) of someone’s ingenuity. But why do we keep looking? Because we keep looking for the “right” art, the invented, crafted experience that cracks our carapaces and does something rare to us. A haunting picture, a seductive installation, a moving image brimming with mystery, a human gesture made in the same space you occupy, an object situated in a place as improbable as it is exquisite, all these make us concede that we feel as well as know our way through our lives, that “knowledge” itself is a bouquet of vastly different blooms and must always have room for more. Art, averred Robert Fillliou, is what makes life more interesting than art. Art is an ever-growing thing at the core of existence, essential to yet nothing like the quotidian. We can “feel life” in many ways. This festival declares that art is a unique and necessary means to such feeling.

PETER FRANK is a New York-born, Los Angeles-based ar t critic and curator. Associate Editor ofFabrik magazine and ar t critic for the Huffington Post, Frank has served as Editor of THEmagazine Los Angeles and Visions Ar t Quar terly, and as ar t critic for the LA Weekly, Village Voice and SoHo Weekly News. He has organized exhibitions for Documenta in Kassel, the Museo Reina Sofia in Madrid, and New York’s Solomon R. Guggenheim Museum, among other venues, and served as Senior Curator at the Riverside Ar t Museum in California. He has written extensively for books and periodicals around the world. 3

F EEL L IF E KATESHIN GALLERY of Waterfall Mansion rejoices in opening the summer season with a full immersion in contemporary art. Art, freed from the confines of museums and bank vaults, permeates the sensibilities of those who hold it as their finest good in their living spaces. FEEL LIFE, title of Summer Art Festival 2014, invites you to breathe the incomparably refreshing atmosphere of Waterfall Mansion throughout its seven magnificent levels. The exclusive selection of artists, partners, and collectors hosted at SAF 2014 confers this cutting edge centennial carriage house with an unequivocally triumphant summer air. SAF 2014 offers prelude, surprise, joy and anticipation: a circulating exhibition with plenty of fluent blues, evanescent lights, pouring sculptures, and slicing surfaces. From the latticed leaf faĂ§ade entrance through the airy gallery to the tranquilÂ waterfall, the entire mansion gently encourages you to linger in everchanging peace and contemplation. Welcome to Summer Art Festival 2014 at Waterfall Mansion. Alessandro Berni, Co-curator Summer Art Festival 2014

ALESSANDRO BERNI is an Italian writer. Founder and CEO of Clio Ar t Project, US Editor for Ar tribune and Blogger for Ilfattoquotidiano.it (Incentoparole). 4

FEEL LIFE. Be Blessed. Be Present. Summer Art Festival 2014 KATESHIN GALLERY at Waterfall Mansion is proud to present a celebration of emerging and established artists from June thru August 2014. SAF 2014 will present original works by international contemporary artists alongside some more wellknown names. We will offer exclusive tours and special events throughout Summer 2014, featuring cutting-edge work across multiple creative genres, including fashion, food, film, industrial design and music. Summer Art Festival 2014 will showcase continuous exhibitions integrating “Art, Architecture, Design & Lifestyle”. Waterfall Mansion and KATESHIN GALLERY will prove to be an incubator for innovative collaboration within the contemporary market. I want everyone who steps into Waterfall Mansion to feel their heart, appreciate their dreams, enjoy being loved, and be inspired by the artistic expressions. Welcome, Feel Life, and Enjoy the Show. Kate Shin Curator Summer Art Festival 2014 Owner, KATESHIN GALLERY and Waterfall Mansion

KATE SHIN is a financier-turned real estate developer and lifestyle designer who envisions a world where real estate development is more than just a physical property. As a believer in creative collaboration across industries and an advocate of cross-pollinating cultures, Shin is empowered to facilitate groundbreaking synergies. “Creativity should be fostered in a community, not isolated,” says Shin. While working closely with artists and designers, Shin also partners with diverse lifestyle brands to showcase living with art, from a developer’s perspective. One of Shin’s greatest passions lies in supporting emerging artists and designers by providing them with the resources to collaborate as a means to broaden the scope of all creative fields. 5

Wind Rock 2, 1996 metal and aluminum 44” x 30” x 20” Hyongnam Ahn If someone is in love, longing makes lovers die every day and every hour. I would rather create a useful lie until I die-- not a longing, lover’s lie--so that I am able to live out every day and every hour of my life.

Graveyard #23, 2014 archival pigment print on canvas, acrylic paint, chulks, and oil stick 60” x 82” Lili Almog “Life is like a landscape. You live in the midst of it but can describe it only from the vantage point of distance.” - Charles Lindbergh

M & M Bag I, 2004 bag marble, M&M’s carved out of marble and cast in resinbag 30” x 15” x 20”; M&M’s, 3” x 3” Robin Antar I’ve achieved my goal when the U.S. government writes to tell me I cannot copyright a work of art because it too closely resembles the product that I chose to record in stone. The day I received that letter was one of the happiest days of my life.

Mountain Gorilla, Rwanda, 2014 archival pigment print on handmade Japanese Kozo, photographed on black and white film (2011) 27â&#x20AC;? x 69â&#x20AC;? Zana Briski My work seeks to capture and inspire the awe and wonder I feel in the presence of animals.

Still Life with Pear and Grape, 2009 oil on canvas 30â&#x20AC;? x 36â&#x20AC;? Mia Brownell I use the conventions of the painted food still life as a means to comment on contemporary issues surrounding food. My paintings simultaneously reference 17th century Dutch Realism and the coiling configurations of molecular imaging.

Spin, 2013 100% silk 9’ x12’ Joseph Carini I make eloquent cognitive connections that transform my disparate inspirations into striking visual narratives. It’s about dynamics, movement, space, tension and release. I talk a lot about energy—colors vibrating and blending optically to create new color.

Bound (Red), 2013 acrylic and wood frame 11.5” x 9.5” x 2” Pablo Carpio This piece is one of a series in which I use everyday objects as subject matter and as materials. This work aims at building an indirect conversation between painting and sculpture, by transforming one medium into another.

Powerball, 2013 wood, plaster, latex rubber, paint, glue 7.5” x 11.5” x 9.5” Jamison Carter On the darker side of balance, the hand-sculpted plaster begins to surround and envelop a structure. The anti-form outweighs the form.

Dudamel #5, 2011 acrylic on polyscreen 65” x 50” Stanley Casselman “Whispering in Parallel” came to me in a dream and alludes to the idea of communicating without words and in “Parallel” speaks to the theme that we are all one, in unison and the same.

History, 2011 acrylic and mixed media on watercolor paper 60â&#x20AC;? x 40â&#x20AC;? David Chang Visual meditation and abstraction of calligraphic strokes using the chopstick as my tool.

Meditation Jellyfish, 2007 acrylic and pencil on korean paper 55â&#x20AC;? x 100â&#x20AC;? Jinwon Chang My work is a form of devotion for me, a path as legitimate as pure meditation.

Candies, 2013 molding cast with polycarbonate and mixed media 14” x 5” x 3.5” Sunjoo Chung The Candies” Series began from questions the duality of symmetrical beauty. I wish to discuss the rather conservative and possibly narrow-minded perspective of the modern man, a result of constant and repetitive exposure to familiar and uniform image.

Correria Media, 2007 ceramic and mixed media 36” x 16” x 16” Cristina Cordova “It is tempting to see in the weathered patina of her forms and the mythic content... a shared gothic quality infused with religion, history and storytelling.”- Felicia Feaster

Linda, 2013 mixed 42” x 20” x 23” Bradley Ehrsam My trike sculptures are derived from memories, imagination, with passion, love and strong attention to detail. Evoking emotional responses that inspire and help bring ones dreams to life.

Miniature Diver, 2014 bronze, oil, 24kt gold leaf 24” x 8” x 6” Carole Feuerman Swimming and water have fascinated me for as long as I can remember, and as a result, have become the essence of my inspiration for my pieces.

Callisto, 2013 wood panels, acrylic , oil base paints, glitter, high gloss resin 30” diameter Daniel Fiorda “…Clear past images come immediately to mind: children lying on their backsides and in that supine position gazing at the night time constellation. Their imaginative minds all occupied conjuring up images to meet their phantasmagorical dreams.” - Michael McManus

Turbulence Series, 2013 acrylic paint on acrylic resin and metal gilding 31â&#x20AC;? x 31â&#x20AC;? Danielle Frankenthal I am a painter who uses transparent multi-layered supports so that the works change throughout the day. They are about and are the experience of light and time.

Above Reason (Series of 20), 2013 oil on linen 40â&#x20AC;? x 32â&#x20AC;? Richard Gabriele I wanted to make paintings about painting, so I tried to visualize what inspiration feels like and thought if I could give the feeling form, what shape might it take? The images are like maps of my creative experience.

Field Guide to Narcissism, 2013 debris netting, yellow plastic bags, caution tape 12â&#x20AC;? x 48â&#x20AC;? x 10â&#x20AC;? Borinquen Gallo I am inspired by the nature of materials that we consume and dispose of, which resonate on a personal and social scale. Notions related to spirituality, the commodification of emotions, mass production and consumerism come to the foreground in many of my installations. The work points to a search for what makes us commonly human and not merely living creatures or even products.

Butterflies and Roses, 2013 unique digital print and painting, archival pigment, acrylic and resin on canvas 83” x 54” Jedd Garet My dreams are architectural. I inhabit outrageous structures that change periods, and styles, and locations as I move through them. Looking down through massive glass walls, I see cragy alpine peaks, one of which is topped by a Hellenic Temple. As I reach for a huge bronze door, it becomes a paper soji screen sliding open to reveal that i’m inches above the churning Hudson River Corners go out of focus- rooms now spherical. My lair is burrowing into the rock cliffs of the New Jersey Palisades.

Vessel, 2013 resin 12” x 15” x 15” Auguste Garufi I am looking, perhaps, for moments, strange and beautiful, that open between things and allow a separation from ourselves. The elegance of human existence.

Pill Explosion, 2013-14 pills cast in resin 5” x 5” x 5” Ray Geary Encapsulation has interested me for some time now. I love the idea of taking an object with a specific purpose and rendering it useless in a way. Also, the way resin reacts with various objects is so variable that the end result is often unknown and always slightly different. The original purpose should not be forgotten completely but viewed in conjunction with the finished product to help the end user form their own thoughts about what they are seeing.

On Her Way Home, ed. 10, 2013 mixed media 12” x 10” x 32” Chul Gwag I express the conflict between mankind’s external masque and internal pain, sadness, love and agony by using the female body as a vehicle. My work mirrors the image of a woman and represents all human desires.

Kites, ed. 5, 2013 silkscreens 32â&#x20AC;? x 32â&#x20AC;? each Charles Hinman Charles Hinman is known for his exploration of the three-dimensional canvas, specifically the ways in which he creates a visual dialogue between the illusory space of the painting and the actual space on which the sculptured object rests. Hinman embraces contrast on multiple levels, through his use of color, texture, light and shadow.

String Hands 1624, 2013 print on elastic strings in a steel frame 47” x 79” x 6” Sungchul Hong “Through these engaging three-dimensional works the artist attempts to unveil the virtual object through his use of distorted and fragmented imagery resulting in stunning visual effects” - John Brunelli

Warm Blue #1, 2014 mixed media on canvas 42” x 38” Javier Infantes I understand creativity as a language of experimentation, as a method of investigation and acquisition of knowledge, all of this based on the freedom to create. I am interested in traveling ours inner selves, towards what we are: thought, emotion, feeling, memory... Moreover, I am attracted by our ability to generate intelligence, sensations, recollections…

Lord, have mercy on me (Pieta), 2014 video installation

Daphne Jiyeon Jang The land we breathe, the happiness and love I feel here. The fundamental reason why we can move forward when we are so weak is because of His sacrifice. That is the â&#x20AC;&#x153;proper gracious attitudeâ&#x20AC;? toward someone who sacrificed life for us.

What Caterpillars Taught Me, 2009 thin celluloid boards, variable installation

Uk-Hee Jang â&#x20AC;&#x153;I found myself in the caterpillar gnawing leaves.â&#x20AC;?

Non title, 2013 acrylic, gold leaf, canvas on wooden frame 20” x 20” x 3“ Kaoruko In my large-scale, richly illustrated paintings, I draw from both the iconic cultural heritage of my homeland and my experiences as a contemporary Japanese pop star to uncover the true essence of human emotion expressed by modern women in their private domestic spaces. Beginning with highly codified motifs sourced from traditional woodblock prints and textiles of Kimono evocative of social views held 300 years ago I intertwine modern-day figures that defy both the limited traditional view, and the contemporary Japanese construct of Kawaii, which today extols the feminine virtues of ‘cute’ and ‘adorable’ rather than embracing the richness and complexity of the full range of human emotion.

Blah Blah Blah, 2012-14 fired clay, swarovkski crystals, glitter, white and gold luster glaze element 1.5” x 4” x 4” each Jae Yong Kim We all have our own language, each unique and colorful. I make donuts to understand how people dream, strive, hope and desire, as well as love. I craft my language by understanding those of others.

White Horse Under the Willow (Du-Seo Yun), 2012 japanese pigment and gemstone powder on silk 27â&#x20AC;? x 17â&#x20AC;? Yeon-Su Kim I paint the beauty characterized by Korean tradition: gem stone powder and memories of childhood using extremely detailed technique.

Nothing. Life. Object, 2011 oil on canvas 54” x 54” Young-Sung Kim I use contrasting subject matter to illustrate the distinction between the living and the material. My frog in a jar places the viewer in a position to directly compare the two opposing objects, allowing the viewer to appraise what he sees and question the meaning and “value” of living creatures in modern society.

Burning Flowers II, 2013 archival digital print on diasec, ed.5 42” x 53” Koh Sang Woo Everyone’s judgment/bias/visions is what I am trying to provoke; the vision of what “we” relate to beauty what “we” base our judgment on what “we” view as the standard from all of the influences of life experiences. I only ask that people challenge themselves to think outside the box on the one word ‘beauty’. Beauty is ambiguous.

@anonymous, 2014 neon, ed. 5 25â&#x20AC;? x 28â&#x20AC;? Esmeralda Kosmatopoulos The two neons rethink human communication at the virtual age where simplified images and shared symbols are replacing words and languages. The works are a continuation of the artist exploration of identity, culture and language at a time where emotions and human interactions are expanding on to the virtual space.

Crowned, Red and Pink, 2014 print 24â&#x20AC;? x 30â&#x20AC;? Hye Rim Lee My photos and video installations tell a fantasy tale based on an intermingling of Eastern and Western popular culture and the study of new technologies and how they influence tradition.

Fate, 2011-12 ink stone Sizes vary Sang Yong Lee By collecting antique inkstone for my work, I bring history and the aura of the past into my present-day work. The esoteric images I depict emam my memories and my internal state at the time I create them.

TAO - I, 2012-13 porcelain 32” x 25.5” Seung-hee Lee In Chinese Tao means ‘porcelain’ and in English means ‘the path’. I do not ascribe deeper meaning to titles, but if pressed to put meaning then it would be the discipline of me finding my own path through my work in porcelain.

Lavendar Distance, Ongoing Yellow, True Yellow, My Dear Boxes, 2009 mylar, paper, paint 16” x 16” x 1” each Jacque Liu My work is about memory and space. It abstracts architectural elements and color to reference unknowing.

Kangaroo Head, 2004 hand built white earthenware with hand dyed wool, wood pedestal 38” x 25” x 20” Michael Lucero While doing a bit of research, I made a wonderful discovery. As I examined different collections of pre-Colombian art, I found out that the Maya also painted illusionistically; with slips and glazes the Indians used to depict arms on their forms... It was mind-blowing to me because I had the same inclination to do what was already done, sort of unknowingly.

The Richard Meier Portfolio (Edition 1/50 - 50/50), 2011 12 silkscreen prints in fourteen colors, hand printed and collaged with hand coloring and photography 16” x 16”, paper size 30” x 30” Richard Meier Richard Meier’s collages complement his architecture in various, unexpected ways. In sharp contrast to his architectural drawings, they are nonrepresentational. Yet in a manner similar to those drawings, they record the artist’s creative process. Like the architecture itself, this portfolio seeks to reconcile the antithetical conditions of random discord and ideal order.

Filled full of your ideas, 2013 graphite on paper 30â&#x20AC;? x 22â&#x20AC;? Heather Merckle In an ongoing series, Swollen with Use, Shriveled with Neglect, I am documenting the deflation process of helium filled balloons. In these graphite drawings I am studying relationships- then and now, attachment and detachment; exploring my own sense of loss and fulfillment, and the balloons overall connection to the human form.

Folcred, 2012 silkscreen print in six colors, paper type 380 gram coventry smooth (unique) 27â&#x20AC;? x 27â&#x20AC;? Roger Mudre For me, painting is both a creative exploration and a sensuous process. The thought of infinity as part of our lives has been the inspiration for my work. Creating these microscopic worlds of cellular growths, auras, cosmos, places unseen and only imagined, informs my work. The square format allows for a field of pattern that continues equally in all directions.

Maranas, 2012 oil on linen 40â&#x20AC;? x 80â&#x20AC;? Antonio Murado My work is based on the circular growth of nature and inspired by the performance of Mantras.

Van Gogh, 2001 acrylic on canvas 40” x 39” Takashi Murakami

Balancing Act, 2014 mixed media with collage on paper 84â&#x20AC;? x 64â&#x20AC;? Geraldine Neuwirth This body of work is about a world within a world..such as in the theater or circus... and the work comes out of a chaotic stage to form abalance. These forms which create a personal vocabulary of images relate to a transformation that takes place in the process.

Forever Blossom, 2012 silkscreen on paper in 34 colors hand signed and numbered in pencil image size: 24” x 33”, paper size: 32” x 42”, ed. 45 John Newsom The Hudson Valley Center for Contemporary Art has sponsored this special limited edition print by artist, John Newsom, named, in 2011, one of the top 20 American artists by Flash Art Magazine. The Hudson Valley Center for Contemporary Art is dedicated to the support of artists and their pursuit of excellence as well as to the development and presentation of exhibitions and interdisciplinary programs that enrich our understanding of contemporary art, its contexts and its relationship to social issues. HVCCA is also committed to the enrichment of Peekskill, a multicultural community that has recreated itself as a major arts destination.

Untitled, 2013 acrylic and mixed media 27â&#x20AC;? x 33â&#x20AC;? Chau-Giang Thi Nguyen Painting and loneliness equal peace equal luxury devine. Someday felt that you would paint till you faint, then watch the conversion of pains to paintings while knowing your feelings is being recored, you see the purpose of all challenge and price for final art destination if there is any, and the relationship of music and painting if there is will be.

Internet Dweller (5 of 12), 1994 two panasonic 10” tv models # ctn-1050r, six ktv 5” tv model# sla, three vintage tv cabinets, projector, lantern, glass insulators, neon, one laser disk player, 1 original paik laser disk 66” x 53” x 30” Nam June Paik There is no rewind button for life.

Points Motion, 2012 stainless steel wire, stainless steel bead and plexiglass 18” x 18” x 18” Sangwook Park Points constitute a line. Lines constitute a face. Faces constitute a cubic. It is composition of spacial dimension. But what if we can see if the space consists of the points or the line as itself? Even if that is not real space there is the spatial perception beyond the gap between dimensions.

Yeon-gi 8460, 2013 stainless steel, wire mesh 236â&#x20AC;? x 157â&#x20AC;? Seungmo Park It never was, never is and never will be. We were never born. We never died and we never will.

Mouse + Duck = Bat, 2011 lenticular print 18â&#x20AC;? x 24â&#x20AC;? Youngha Park The idea started from my interest in the relationship between positive and negative spaces of three iconic images. People often perceive things based on analogies of an optical illusion.

DEER Chair, 2012 mirror polished stainless steel 46” x 22” x 24”, Seat height 18“ Antonio Pio Saracino By employing new technologies, sustainable principles, and creative thinking, I pursue innovative design on every scale and explore the relationship between the natural and man-made world.

Martin’s Chapel, 2013 acrylic on canvas 36” x 48” Melodie Provenzano Martin’s Chapel, named after the land where my husband’s mother was raised in Tennessee, is a surreal country farm scene, reflecting both a nostalgia for home and a thirst for adventure. The boy figurine with shovel in hand is positioned to dig in and uncover everything life has to offer.

B-Line Woopy (matte pink and black leather), 2011 rotomolded polyethylene 31” x 26” x 35” Karim Rashid “I prefer to live in a world filled with Sensual Minimalism. Sensual Minimalism speaks simply and directly, without being superfluous. The softer, friendly, organic forms communicate tactility and express a strong visual comfort and pleasure. It is reductive yet human, minimal yet organic and amorphous.” - Globalove Karim

Eclipse Mars IV, 2013 ink on handmade paper 34.5â&#x20AC;? x 34.5â&#x20AC;? Rostarr I was inspired to make the Eclipse Mars series after viewing an annular solar eclipse from my rooftop in Brooklyn on May 20th of 2012, the maximum eclipse happened at 7:54pm at sundown, it was a beautiful blood red sky and it reminded me of the planet Mars or what it would be like if Mars was as close as our own Moon.

Number 1, 2013 digital c-type print, ed. 3 49â&#x20AC;? x 64â&#x20AC;? Ernestine Ruben For me the visual arts, music, architecture, and dance are an inseparable part of my life. By seeing them, hearing them, and creating them, I receive energy, ideas, and an excitement about living. I love the way I can question my existence and convert ideas into multi dimensional experiences.

me’re et fille, 2012 acrylic on paper mounted on board 40” x 48” each Sarah Saito I create linear fragments of feelings. Ultimately, art is not what the mind thinks.

Lily, 2013 silicone, pigment, fiberglass, acrylic, hair, resin 27.5” x 17.5” x 16” Jamie Salmon I hope that my works contain meaning and convey a real sense of emotion. And if they also take people by surprise and affect them on perhaps an unexpected level, I really feel I have succeeded. This is also why I like to play with scale in a lot of my works as well.

PopDogs, 2011 metal, glass, 1200 plastic dogs, Installation 3’ x 5’ x 5’ Carlo Sampietro A mobile art installation to discuss the global issue of dog over-population by exploring the global cycle of craving, consumption and abandonment.

You, 2010 silicone, pigment, fiberglass, acrylic, hair, resin 18” x 20” x 54” Jackie K. Seo In each of my pieces I like to show a moment where we feel the need to repair something in our lives and how we deal with it. I think the style of hyper-realism is a good way of showing the minute subtleties of the challenges of life, in a sculptural form.

Inter-Light #1, 2014 acrylic on linen led light 32.5” x 52” x 4” Zin Helena Song “Every true artist has been inspired more by the beauty of lines and color and the relationships between them than by the concrete subject of the picture.” -Piet Mondrian

Preflight, 2013 oil, acrylic and resin on panel 36â&#x20AC;? x 72â&#x20AC;? Kim Squaglia I approach my paintings as a deep physical space, where I can suspend paint as if it were alive, swaying, pulsating or floating. The multiple layers of resin provide me this space to sculpt. My work hints at worlds that are both micro and macroscopic, somewhere between biology and astronomy.

D tree, 2011 silk screen print in seven colors, paper type 380 gram Coventry Smooth (Unique) 36” x 36” Jessica Stockholder Working with Gary in his wooden print making studio in the middle of a Connecticut field, we made prints in relation to the wooden ash tree project I made for the Aldrich museum. As we worked I frequently spent time looking out of Gary’s big picture windows at the framed landscape outside. The quiet stillness of the landscape pictured, and the back and forth between inside and out, resonated in a sustained and lovely way with the prints as we developed them.

Catastasis Vase, 2010 porcelain, wheel thrown 23â&#x20AC;? x 7â&#x20AC;? x 7â&#x20AC;? Matthew Towers I work with the porcelain vase form for its associations with correctness, good taste and social hierarchy so that I may reinterpret these notions sculpturally based upon my own personal sensibilities as well as the contemporary world order. Variations on traditional pottery forming techniques such as throwing, stamping and press molding serve as a means of referencing historical concepts associated with pottery forms. The subversion of the expected form defines the work, and surfaces are treated minimally so as not to obscure this.

Joseph Beuys, circa 1980 screenprint on newsprint on linen, unique artwork size 47” x 35”, framed size 55” x 41” stamped with the artist’s copyright stamp Authenticated by Andy Warhol Art Authentication Board © 2014 Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS) Andy Warhol If you want to know all about Andy Warhol, just look at the surface of my paintings and films and me, and there I am. There’s nothing behind it.

Polaroid Paintings, 2011 ink drawings on vintage polaroid film 48” x 60” George Whiteside Since the 70’s I have used Polaroid negatives in my work experimenting with the unlimited possibilities of the films surface. Impossible intertwining lines influenced by science and nature, found bits of ephemera and even graffiti are applied. The combination of the organic textural backgrounds with fluid calligraphic gestures makes me enjoy drawing and photography in a new way.

Liberation, 2012 acrylic on canvas 44â&#x20AC;? x 44â&#x20AC;? Yang Yang People always wonder if my works have a story. The answer is yes, the story of millions. But not told by me, it is told by those viewing.

Windmill, 2013 krink on paper 21.5â&#x20AC;? x 21.5â&#x20AC;? Yoon Hyup My work investigates the flow of energy and assembles different individual motives in harmonic order; much like a concerto.

ACKNOWLEDGMENTS

MADE IN ITALY

KATESHIN GALLERY Waterfall Mansion 170 East 80 Street New York, NY 10075 212.988.0472 www.waterfallmansion.com for private viewing inquiries: info@waterfallmansion.com

Co-curator: Alessandro Berni Jae Yong Kim Graphic Design: David Chang ÂŠKATESHIN GALLERY, New York