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‘Mountain High’
ink, bleach on canvas
5′ x 4′
2011
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‘Untitled’
ink and canvas
4′ x 3′
2011
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‘Untitled’
ink, bleach on canvas
4′ x 3′
2011
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‘High Sea’
ink, bleach on canvas
5′ x 4′
2011
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‘Untitled’
ink, bleach on canvas
47″ x 58″
2010
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‘Untitled’
ink, bleach on canvas
47″ x 58″
2010
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‘Notations #41′
6 x 6 inches
Collage
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‘Notations #7′
6 x 6 inches
Collage
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‘Notations #48′
6 x 6 inches
Collage
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‘Notations #21′
6 x 6 inches
Collage
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‘Notations #37′
6 x 6 inches
Collage
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‘Notations #42′
6 x 6 inches
Collage
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‘Notations #39′
6 x 6 inches
Collage
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“My series is called Notations, and reflects my love of letter forms and typography, of words and language, and a delight in the visual and tactile properties of old books and documents, especially those that are creased, stained and foxed. I’m interested in surface variations and the play of light on shiny areas contrasting with the velvety softness of old papers. In a larger sense, they’re about communication, nuance and layers of meaning. I’ve stencilled some letters in shiny etching ink, occasionally adding metal leaf, and printed letterpress ornaments and a Chinese character. Some papers have been prepared by pouring and splattering India ink. The tiny photographs are my mother at ages 20 months, 3 years, and 25. Other images are from dictionaries and old steel engravings.” ~ JJ
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‘Deception’ Series
Mixed media on paper
30″ x 22″
2011
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‘Deception’ Series
Mixed media on paper
30″ x 22″
2011
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‘Deception’ Series
Mixed media on paper
30″ x 22″
2011
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‘Deception’ Series
Mixed media on paper
30″ x 22″
2011
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‘Deception’ Series
Mixed media on paper
30″ x 22″
2011
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‘Deception’ Series
Mixed media on paper
30″ x 22″
2011
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‘Deception’ Series
Mixed media on paper
30″ x 22″
2011
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‘Deception’ Series
Mixed media on paper
30″ x 22″
2011
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‘Deception’ Series
Mixed media on paper
30″ x 22″
2011
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Employing intricate references to cultural history, science, religion, and other social phenomena, Wells engages in a dialogue with the unknowable by reinterpreting source material culled from the past. These works which hinge on scaling, cutting, and sculptural placement of disparate elements, emphasize the boundaries of what is knowable and definable, pointing out the mysterious and multi-perspective nature of truth, reality and fiction. Her works on collage present objects and concepts connected with the scavenger hunt that comprises our inherited concepts of the past. She fastidiously examines figures and objects in the reproductions of photographs of sculptures, as well as stains found on scraps of paper, to mine the sometimes accidental artifacts of human experience. The concept of self-knowledge is obfuscated by the evident schism between the mind and body. We are challenged to consider the differences between flesh and stone, imprisonment and freedom, and the sometimes uncomfortable proximity of mystery to the circumscribed space of human relationships and identity. GLG
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Leigh Wells : Gregory Lind Gallery
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‘Painting’
Oil and Acrylic on Canvas
65″ x 55″
2010
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‘Painting’
Spray Paint and Acrylic on Canvas
40″ x 40″
2010
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‘Painting’
Oil and Acrylic on Canvas
40″ x 40″
2010
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‘Painting’
Acrylic and Flashe Paint on Canvas
40″ x 40″
2010
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‘Painting’
acrylic and paper on canvas
30″ x 30″
2012
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‘Painting’
acrylic and paper on canvas
18″ x 18″
2012
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‘Painting’
spray paint, acrylic, fishing line
12″ x 12″
2012
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Nazafarin’s work performs as a stage for an event to happen where she searches for a particular moment, one that has passed or is to come. She empties out her thinking by refusing to let any one thought dominate in its visibility… almost everything is left out to compose a world exhausted of life. bio
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‘data.anatomy [civic]‘ is a new audiovisual installation by Japanese artist Ryoji Ikeda, arising from a unique collaboration with Mitsuru Kariya, the development leader of the new Honda Civic car. Exhibited as a 3-screen video projection, the work immerses the viewer in an intricate yet vast audiovisual composition derived from the entire data set of the car. ~ [MUMA (Kraftwerk) Berlin on April 19th 2012]
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data.anatomy [civic] : website
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‘Untitled PH 2107′
140 x 120 cm
C-print
2007
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‘Untitled’
140 x 120 cm
C-print
2012
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‘Untitled PH 211′
140 x 120 cm
C-print
2011
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‘Untitled PH 2709′
140 x 120 cm
C-print
2011
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‘Untitled PH 1605′
140 x 120 cm
C-print
2010
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‘Untitled PH 108′
140 x 120 cm
C-print
2011
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This work represent the most recent stage on my personal artistic path. From compositions on paper and paintings, I have expanded my research into conceptual photographs. Selected from raw, elemental works on paper, some drawings are cut apart and set into motion to become the basis of these images devised through a solely analogical method. In the act of displacement, these light sculptures are defined by a gesture of substitution as time caught on a surface. Originating from nameless forms, intact drawings and their constructed counterparts appear in fetish form. As the photographic support contracts and hardens, the transformed image gains strength through the radicalization of the process which progresses from manual drawing to mechanical reproduction. This experiment stands at the limit of this most contemporary field and leads the viewer to re-examine the image’s inner nature; the choreography of its pictorial elements gives it a new status as the dancing parts of the painted image become a photograph in its own original genre. ~ Extract : Artist Statement
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