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BPB Projects, Ceramics, Sculpture

Hey! I Curated an Exhibition! ‘In the Palm of Your Hand’

'In the Palm of Your Hand' - Lisk Feng

Many, many months ago, I was approached by Carly of EMP Col­lec­tive to curate a show in their multi-purpose art space. Located in down­town Bal­ti­more, EMP is used for gallery shows, live per­for­mances, writ­ing work­shops, film screen­ings, and more. The space is also HUGE. It’s in one of the old build­ings down­town and has beau­ti­ful archi­tec­ture and a raw, indus­trial look to it. Here’s part of the space to give you an idea:

EMP Gallery space

As you can see, the square footage is daunt­ing. I’d attended other exhi­bi­tions there, and most cura­tors chose to try and fill most of the space with work. I decided I’d do the oppo­site. Instead of find­ing big work to hang, how about tiny pieces that I’d arrange?

That’s how In the Palm of Your Hand was born. EMP and I worked to build a small room (about 6FT by 8FT) inside of their gar­gan­tuan space. Then, I made it like a room in someone’s home; I included a din­ing table and chairs, a shelf, a lamp, and a few other knick­knacks besides the work.

Seven artists and illus­tra­tors were kind enough to lend me their work for the exhi­bi­tion: Leah GorenGre­gory EuclideAmy Santo­fer­raroPUTPUTLisk FengKarin Hagen, and Hiné Mizushima. And, I must say, that pic­tures don’t do them jus­tice. The work is intri­cate, beau­ti­fully crafted, and at times, pre­cious too.

The open­ing for the show was Jan­u­ary 10, but In the Palm of Your Hand will be up for a few more weeks. I’ll be at EMP for gallery hours from 12 — 4 on Feb­ru­ary 15! The fol­low­ing are some of the images from the show, but I took a lot more. Check out the whole set on my Flickr.

'In the Palm of Your Hand'

'In the Palm of Your Hand'

'In the Palm of Your Hand'

'In the Palm of Your Hand'

'In the Palm of Your Hand'

'In the Palm of Your Hand' - Amy Santoferraro (front) and Karin Hagen

'In the Palm of Your Hand' - PUTPUT (left) and Karin Hagen

'In the Palm of Your Hand' - Amy Santoferraro

'In the Palm of Your Hand'

'In the Palm of Your Hand' - Hiné Mizushima

'In the Palm of Your Hand' - Hine Mizushima & Leah Goren

'In the Palm of Your Hand' - Leah Goren

'In the Palm of Your Hand' - Leah Goren (far left), PUTPUT (middle), and Karin Hagen

'In the Palm of Your Hand'

'In the Palm of Your Hand' - PUTPUT

'In the Palm of Your Hand' - Gregory Euclide

'In the Palm of Your Hand' Gregory Euclide

'In the Palm of Your Hand' - Gregory Euclide

See more here. 

Painting

Studio Visit: Zach Storm

Studio Visit with Zach Storm

Zach Storm’s stu­dio is located in a tree-line neigh­bor­hood at the edge of Bal­ti­more City. It seems to be a peace­ful set­ting, full of detached single-family homes. Here, in a large shed (with no heat!) is where Zach keeps his stu­dio. Per­son­ally, I’m jeal­ous; his space has amaz­ing nat­ural light, airy, away from dis­trac­tion. It really feels like a place to escape.

I first wrote about Zach’s work after I saw these paint­ings in a show at MICA. They are vibrant and glitter-full (Lit­er­ally. He used glit­ter spray paint in these works on paper.):

Zach Storm - Surface Tension at Gallery 500

Zach Storm - Surface Tension at Gallery 500

Look­ing at his work then (2012) to now (2013), I still see the same artist’s hand, but with his new series of works, they are more refined. Zach said he has a ten­dency to over­work things, and the paint­ings cur­rently in his stu­dio are a result of the sys­tems of he’s cre­ated when work­ing. This guards against this incli­na­tion. The paint­ings are worked on simul­ta­ne­ously and sequen­tially in an orderly fash­ion, and give Zach the free­dom to move from piece to piece if he’s frus­trated or feel­ing stuck.

Studio Visit with Zach Storm

Studio Visit with Zach Storm
Studio Visit with Zach Storm

Studio Visit with Zach Storm

Cur­rently, these paint­ings are on alu­minum, using auto­mo­tive primer, pig­ment and ure­thane. Despite my ini­tial assump­tion that Zach knew a lot about mate­ri­als, he said he didn’t! The process of learn­ing and react­ing to the mate­r­ial reac­tions with each other is very much apart of these works. At times, he calls the reac­tion between mate­ri­als “unnerv­ing,” such as the way the pig­ment slides or resists primer, but ulti­mately an impor­tant to the painting’s development.

Studio Visit with Zach Storm

Studio Visit with Zach Storm
Studio Visit with Zach Storm
Studio Visit with Zach Storm
Before I vis­ited Zach’s stu­dio, I went through his past work on his web­site, writ­ing down words that I asso­ci­ated with his work. I described them using “ethe­real” and “splen­dor” — there’s sort of a whimsy (dare I say) to be asso­ci­ated to those words, which is actu­ally what he tries to cap­ture in these paint­ings. He said he gets “excited by light shin­ing through the trees,” and tries to repli­cated emo­tional states like that.  This lead to an inter­est­ing dis­cus­sion. Zach col­lects old ani­ma­tion cells, specif­i­cally the back­grounds. Think of car­toons like Looney Toones or Ren and Stimpy. They have amaz­ing and beau­ti­fully painted back­grounds that color fields inspire him. There’s also a rhythm to ani­ma­tion, a rep­e­ti­tion and way of work­ing that is akin to Zach’s process, too. Not only that, but the act of paint­ing in a Bugs Bunny car­toon also makes Zach con­sider the way he works. Watch the first 10 sec­onds of this clip and you’ll understand:

As some­one study­ing illus­tra­tion, I loved that ref­er­ence. I would have never thought of that when look­ing at his work, but it makes per­fect sense.

Zach has his first solo show, Solitare, open­ing soon at the Johannes Vogt Gallery in New York City. If you live in the area, head to his open­ing on Thurs­day, March 28, from 6PM8PM. More details on Facebook.

Studio Visit with Zach Storm

Studio Visit with Zach Storm
Some tools of the trade. Pig­ment, primer, inks.

Studio Visit with Zach Storm

Studio Visit with Zach Storm

Noth­ing is too pre­cious. You can always peel it off, sand it again, and start over!

Thanks, Zach!

Illustrator

Julianna Brion

jbrion4

I’ve fea­tured the work of Julianna Brion on Brown Paper Bag before, and men­tioned her last week because she’s apart of my newest exhi­bi­tion for my online illus­tra­tion gallery, eyra. Julianna is included in the exhi­bi­tion Don’t Call Me Hon­ney, a show about the city of Bal­ti­more.

Julianna is local to me, a trans­plant to Bal­ti­more by way of Con­necti­cut. It’s inter­est­ing to see her take on the city, in a series that she’s titled Bal­ti­more Hodge­podge 1–4. A mish­mash it is! She cap­tures the banal­ity of row homes, high­light­ing them with bright accents. Roof decks were new to me when I first moved to Bal­ti­more, so I enjoy that she makes ref­er­ence to that. 

You can own the orig­i­nals of this work and prints as well! Take a peek in the eyra shop.

 

 

jbrion1jbrion2
jbrion3

Illustrator

eyra illustration gallery // new exhibition — Don’t Call Me Honney

eyra_email

I was silent yes­ter­day — my apolo­gies. It’s because I was busy putting the fin­ish­ing touches on eyra illus­tra­tion gallery’s newest show, Don’t Call Me Hon­ney. The exhi­bi­tion cen­ters around my home, Bal­ti­more. All of the par­tic­i­pat­ing illus­tra­tors are liv­ing and mak­ing work in the city! I also wrote about Don’t Call Me Hon­ney, think­ing about it in terms of how we iden­tify our­selves and how we become inspired.

The show is com­pletely online, so view it here!

Illus­tra­tors fea­tured within the show are Andrew Liang, Cor­nel Rubino, Christo­pher Adams, Janna Mor­ton, Julianna Brion, and Jun Cen

I don’t want to spoil the sur­prise of the show, but below are some works included in the exhi­bi­tion. I’m happy with how it turned out, and I hope you like it, too!

Andrew Liang

cheesefish

Christo­pher Adams

revivalseries

Cor­nel Rubino

Rubino

 

Janna Mor­ton (these are all brooches!)

jannabrooches2

 

Julianna Brion

jbrion1

Jun Cen

jun_mutual_tunnels1

Artist, Sculpture

Conectado: Connecting

This past Sat­ur­day I attended the open­ing for Conec­tado: Con­nect­ing at the Cre­ative Alliance in Bal­ti­more. I per­son­ally know the artists col­lab­o­rat­ing on the piece, Jaime Ben­nati and May Wil­son, and I was really impressed with the instal­la­tion they had put together. Jaime and May had really trans­formed the space, with a totem-like struc­ture of cement cylin­ders (casted by May) and ship­ping pal­lets, inter­twined with wire. Not only was this a visu­ally com­pelling piece to view, but also was inter­est­ing to look at the indi­vid­ual assemblage.

Both artists have spent time in Rio de Janeiro, Brazil, (with Jaime spend­ing upwards of a year there), and Conec­tado: Con­nect­ing is a reflec­tion on the vibrant street cul­ture present in this city. Wires present in the fave­las, candy and fruit sold on the street — Jaime and May have ref­er­enced it in their instal­la­tion. The large pal­let and cylin­der struc­ture felt mon­u­men­tal, lum­ber­ing over the atten­dees of the show, a remark on the rapid speed of Brazil’s grow­ing econ­omy. Also, pro­jected on one wall (which I failed to cap­ture), were bus routes on Google Maps, flip­ping through dif­fer­ent streets at a rapid, almost dizzy­ing pace.

Conectado: Connecting

Conectado: Connecting

Conectado: Connecting

Conectado: Connecting
Cast out of resin.