Size Matters

Chris Ketchie, “WEST”1000 Paintings of Then, 2015-2017 Ink and Acrylic on Wood, 130” x 275” x 2.5”, photo courtesy of the artist

In Size Matters artist and curator William Norton brings together seventeen visual artists and four performance artists from Japan, China, the USA, and the UAE, for whom the notion of scale is central.  The curator questions in what ways does scale impact form? How does it affect meaning? And more specifically, how is our perception of scale affected by cultural differences between Asian and Western cultures?

Chris Ketchie’s “West” 1000 Paintings of Then is comprised of wood blocks which depict an allegorical memory of a trip to China. Each block of wood is painted in a unique calligraphic style, and grouped into larger blocks of color which altogether form an ebullient pattern on an entire wall.

Camelia Mohebi also relates to culture, history, and place. She paints patterns and shapes onto traditional Middle Eastern drum heads – the scale of each piece is predetermined by the historical precedent. Drawing upon the outstanding breakthroughs in math by Islamic mathematicians in the 9th and 10th centuries, she bases her visual interpretations on sacred geometry found in diverse sources ranging from Kabala to Einstein’s theory of parallel universes.

Yuki Okamoto renders on gel fingernails familiar masterworks from eastern and western art history cannons – Picasso, Munch, Van Gogh, and Kunyoshi Utagawa are literally at your fingertips.

Camelia Mohebi, Parallel Universes, Paint on Traditional Drum Heads, 100 cm x 100, photo courtesy of the artist
Yuki Okamoto, The Scream (Edvard Munch), Medium Gel nail (UV curable resin), 2018, 4” 6”,  photo courtesy of the artist

Michael David draws upon history and iconography in a very different note. In the wall piece American Golem he embeds the Swaztika, a  charged symbol he has started using since 1978 for almost 40 years.  The Swaztika carries a dual  meaning – for most viewers it will most likely resonate quite automatically with an evil Nazi emblem, but ironically the Swaztika in prehistory symbolized peace, and in religions like Hinduism, Mayan, and Eastern cultures, it represents regeneration.

The Golem  in Christian and Judaic history speaks to the destructive nature of humans if they dare to elevate themselves above God. David says that Frankenstein , Hitler , the Atom Bomb, as well as some contemporary  personalities in politics can be seen as “Golems”.  in David’s work, the notion of Golem in conjunction with the Swaztika  emblem  create a presence which is both iconic and multi layered, where ultimately hope is not lost.

Michael David, American Golem,  81″x 8″,  encaustic , Resin, Mixed Media, 2016 – 2017, photo courtesy of the artist

Other artists reference nature and cosmology of varying forms. Marcela Silva’s universe is made of diverse fragments – from the size of a marble to a whirling galaxy 2′ in diameter. Her particles, made of cast glass, ceramics and multitudes of other materials, draw the viewer into multitudes of worlds beyond our solar system while also plumbing our ocean depths.

Xiaowei Chen fantastical seascape grids bring to mind an archeologist’s diagram for an excavation. She draws with a very fine tipped pen on small square pieces of paper, and by arranging these separately cut forms in a grid, she invites the viewer to see the whole while focusing on each square at the same time.

In her site specific installation Beauty of Chaos Sonomi  Kobayashi works to create the spontaneous beauty of life – full of accidents and happenstance. “Our lives are always spontaneous and often not how we planned, yet later you realize everything is perfect,” she says. Her installation consists of cut-out synthetic vellum pieces painted with alcohol ink – some  meticulously painted and  some are partly a by-product of chance, as free flowing ink she moves around marks the surface. Overall her abstracted forms and color palette conjure a sense of natural patterns, flora, or organic forms.

Marcela Silva, Panorama of Celestial Possibilities, Hand Blown and Cast Glass, Ceramics, mixed media, 2017, Dimensions Variable, photo courtesy of the artist

 

 

 

 

 

 

 

 

 

Xiaowei Chen, from east sea to north sea 1, ink on paper 48” x 10”, 2016, photo courtesy of the artist

 

Sonomi Kobayashi , Beauty of Chaos, Site Specific Installation, Alcohol Ink on Synthetic Vellum, Dimensions Variable, 2018, photo courtesy of the artist

Millicent Young’s more architectural sculpture, Gate, is one in a series of work in which she combined salvaged window frames and poems. For instance, The Kingdom, by Jane Hirshfield is screened onto ordinary plate glass in ceramic ink and fired, creating the textured panel. The glass panes are leaded and suspend from steel frame windows the artist salvaged from a Virginia lace mill, where she returned to shoot the images. The sculpture was exhibited in Merida, Mexico, Pittsburgh, PA, and Arlington, VA where it has been repeatedly vandalized; thus embodying its history as part of a poignant narrative.

Millicent Young, Gate. Wood, steel, glass embossed with text, lead, cable. 8.5 x 11 x 3′, photo courtesy of the artist

Some artists in the show relate in varying degrees to the body.  For instance, Yukari Edamitsu’s large scale canvas keeps the scale within one’s field of vision. She attacks the canvas with bravura, which engages the viewer like a portal into her world.

Finally, Melissa Stern’s small-scale sculptures unearth the dark humor in daily life. The diminutive scale of these sculptures emphasizes both their intimate idiosyncrasy and the underlying humanistic impetus. They compel the viewer to get closer and become alert of their own humanity.

Yukari Edamitsu, “Streaming Starlight”, 2018, 78” x 60”,Oil on canvas, photo courtesy of the artist
Melissa Stern, Bird Wagon, 2012, Clay, paint, nails and objects 15.5” x 24” x 6”, photo courtesy of the artist

Participating Artists:Yukari Edamitsu   Yuki Okamoto    Marcela Silva  Sonomi Kobayashi
Koto Takei    Melissa Stern    Noriko Nokano   Millicent Young
Xiaowei Chen   Miwael   Camelia Mohebi   Chris Ketchie
Michael David   Daniel John Gadd  Peter Hopkins 
William Norton    Cake Hara

Performances by:
Jonah Bokaer     Dirty Churches  (also on Spotify as Dirty Churches) Jana Astranov  Lisa Levy  and Guest Performance Artists (TBD)

September 29, 2018 – October 7, 2018
Opening September 28, 2018 from 12-8 pm
Performances Saturday, September 29 starting at 3pm

(Gallery hours every day from 12-6 pm during exhibition)
100 Bogart Street Gallery, 100 Bogart Street, Brooklyn NY 11206