Kyle Stave, Venus and the Octopus, 2020, Oil on canvas, 70 x 58 in / 177,8 cm x 147,3 cm, Image courtesy of the Artist and Zürcher Gallery, NY/Paris
Kyle Staver’s second solo show at Zürcher Gallery in New York features new paintings, relief sculptures, drawings, and aquatint etchings through July 24th. In this interview Kyle Staver shares some ideas on her work process, touches upon the narrative and mythological elements in her work, and gives us an insight on her notion of art history.
During the Coronavirus pandemic, Art Spiel is reaching out to artists to learn how they are coping.
Deconstructing the Apocalypse in her own Image, 72 x 84, Oil on panel, 2018. (in studio)
Miles Hall is a painter and draftsman. He has lived in California, Massachusetts, Japan, and New York, but now resides in Richmond, VA. His work explores the mythological relationship between the landscape and human figure. The science and psychology of visual perception is important to his practice. He currently teaches in the Communication Arts Department at Virginia Commonwealth University and maintains a critical visual arts review for the Richmond area called Lucid.
During the Coronavirus pandemic, Art Spiel is reaching out to artists to learn how they are coping.
Abyss, 2020, in Alain’s studio
In her work, Katelyn Alain searches for new myths and archetypes that reflect the way we live now. She has been in solo and group shows throughout the United States, including Arcilesi Homberg Fine Art in New York, the Curtis Gallery in New Canaan, CT, the Skotia Gallery in Santa Fe, Thinkspace in Los Angeles, and the Dedee Shattuck Gallery in Westport, MA. Her work has been featured in The Wall Street Journal, American Art Collector Magazine, Studio Visit Magazine, and Juxtapoz. She was recently a guest lecturer/visiting artist at Brooklyn College and is represented by Marloe Gallery in Brooklyn.
Installation view of the East room: (right) david Goodman, (mid) Will Crowin, (left) Heidi Lau, photo credit Tommy Mintz
The grouping of mostly floor-bound sculptures in “Ground Histories”, the current group show curated by Will Corwin at PS122 Gallery, not only pulls our attention to the ground, but also makes us aware of what is underneath its surface – archaeological artifacts, graves, excavated memories. In the east room a triangular layout consisting of Will Corwin’s altar-like sculpture, Heidi Lau’s arched-shape ceramic sculpture sprawling, and David Goodman’s forte-like structure, create a sense of both tension and connectivity. Made of plaster and sand, painted with terra cotta and white tempera hues, and tied with rough ropes, Corwin’s “Jaw” is a rectangular free-standing sculpture that draws literally upon teeth and invokes the idea of the archaic – an architectural ruin from an unidentified culture, or an archaeological artifact with an enigmatic ritual significance. The tooth, a pivotal element in both forensics and bioarcheology, can be read in Corwin’s sculptures as a loaded metaphor for what it means to be human.
