Kim Salinas Silva
Kim Salinas Silva | You. Can't. Stop Me!
July 14- August 15, 2017
In this solo exhibition Salinas Silva will exhibit a body of work that in her words, are "profoundly influenced" by the writings of Carl Jung, the Swiss psychoanalyst. She writes; “His view that humankind cannot be healthy until as individuals we embrace our shadow, or the darker, more unruly parts of ourselves, has become crucial to my work.”
What is striking in Kim Salinas Silva’s work is her painterly expression and ease in describing representational forms. Her use of color and composition is topical and current, and she lays it on richly for the viewer. The cast of characters in each painting are revealed in the simplest of brush strokes; there is no mystery. But most importantly she wants us to see what those forms and characters are acting out. The scenarios are quite hard to look at even in their candy cartoon colors. There is a concern that asks to be explored, considered and recognized. At the heart of this she wishes to covertly address the suffering and abuse of animals and children.
Kim Salinas Silva could be thought of as the reincarnation of the writer Flannery O’Connor as painter. Born and raised in Louisiana, Kim is a southerner like Flannery and shares a southern gothic style and sensibility. Like Flannery, Kim's grotesque characters and illustrations ask questions about morality and ethics.
“The images in my paintings arise directly from my subconscious, similar to dreams. One night’s dream is different from another night’s, yet a crew of familiar symbols and archetypes runs through them, over the years weaving together an intricate tapestry of psychic story-telling. Each paintings tells a different story based upon the urges intrinsic to that particular painting time, yet common motifs unite them all.”
My paintings are like a puzzle. They are improvisatory; I never know what the image will look like by the end of our escapade. To start, I sketch directly onto the canvas with a few pencil lines and imagine a direction from observing those shapes. This soon may lead to a fully realized painting. However, in the quest for something I’ve truly never seen before, I may turn it around and discover a new story line with new characters. I’ll continue working from there and end up with a completely new twist. I feel satisfied when a painting is so goofy, and so oddly charactered that I could have never dreamed it up from straight out of my head. The story will be completely fantastic, yet couched in human emotions. It is an absorbing adventure, with the process being as engaging as the result.
I add a heavy dose of dark humor to maudlin happenings like humiliation, rage, meltdowns, alcoholic dysfunction, etc. I enjoy the outlet of creating an emotional mess without being politically correct about it.
Kim was born in Shreveport, Louisiana and grew up in a small town not too far away called Minden. After winning a full scholarship she moved to Houston Texas to attend The Art Institute of Houston. She earned her BA at Vermont College in Vermont and her MFA from Savannah College of Art and Design.
For more information on the artist visit: http://kimsalinas.weebly.com
EMMA HOLMES | Schizm
June 16 - July 8, 2017
an exhibition by London based artist Emma Holmes.
Holmes’ work engages primarily with printed and published material through the development of two concurrent practices; studio based works on paper and a self published magazine called Schizm.
Schizm (as the name implies) invites contemporary artists to respond to paradoxical themes. Now in its ninth issue and incorporating the work of over a hundred contributors, Schizm Magazine is an experiment in collectivity and the use of associative and improvised editing.
Holmes will install a wall display combining together a variety of material from many different artists and sources, most of which has been originally published in the magazine. Copies of Schizm and other related publications will also be available to view.
For the past ten years my work has been engaged primarily with printed and published material through two concurrent practices, studio based works on paper and a self-published magazine called Schizm.
Schizm Magazine came about following a collage exhibition called Schizmo, which I organised and curated in London in 2009. The first issue of the zine was made just after that show as a way to gather together images & ideas and share them in a cost effective and direct way. For the second issue I began inviting artists to contribute a page in response to the theme: ‘Time doesn’t give a shit’. Schizm, as the title implies, aims to tackle ideas concerning discordancy, contradiction and paradox and the themes are a way of instigating a response and focusing ideas. Since then there have been many themes, some related to time, others focusing on current cultural and sociological concerns.
Digital self-publishing was becoming easy and inexpensive by then, although in London it wasn’t as widespread as here in the United States where there is a long & rich tradition of artists self-publishing. With desktop publishing tools and YouTube tutorial videos, anyone with a MacBook and InDesign could make a low budget magazine where an artist can take on the role of curator, editor & designer, as fluid d.i.y. modes of production. In this way Schizm was built up little by little, developing a process that can allow for an element of improvisation in publishing. This is possible through the use of a consistent and simple design format, & a classic low cost zine aesthetic. The uses of some constant elements have also helped to anchor a particular look & feel. For example, the front cover is always a photograph taken in the street, and the back cover is an unusual image of women (as a small gesture towards redressing the balance of annoying images of females which generally prevailed growing up), as well as the inclusion of work by regular contributors: Sam Basu and John Chilver’s texts, and Bob Ajar’s photographs.
Schizm is concerned with finding and making original content that relates to the thematic proposal through the use of associative thinking. Then, the focus is on the editing process, by sequencing and balancing the material, and incorporating the pages sent in by invited artists and writers from all over the world. Usually there are fifteen or so contributors who are invited to send in material to be published. The material is not chosen before hand and therefore whom I invite to contribute to the magazine has to be carefully considered. I veer away from straightforward images of an artist’s work, as it is not an art magazine in that sense at all. I am ultimately attempting to present an art object that compiles the work of many artists and employs humour and social commentary as a way to examine ideas concerning hierarchy and paradox.
Now in its ninth issue and incorporating the work of over a hundred contributors, Schizm Magazine is an experiment in collectivity. Schizm attempts to pose questions regarding the contradictory role of the art object and it’s context, while presenting an alternative view of how to consider this, in new and potentially interesting ways.
Emma Holmes was born & raised in Madrid, and lived in the United States and Chile, eventually settling in London, England. She received a BA from Bennington College, USA, and an MA in Fine Art from Chelsea College of Art and Design, London, in 2000.
Holmes has exhibited widely, as well as organised events and presented Schizm Magazine at art book fairs in Europe and Mexico. Recent exhibitions include: Technics and Time, Arno Eichhorn HQ, Berlin (2016), Pigdogandmonkeyfestos at Phoenix Gallery, Exeter, UK (2015), Dotland at A Space, Berlin (2014), The Group at Rollaversion, London (2014), The Fiction Show at Rivington St. London (2013) and The London Open at Whitechapel Gallery, London (2012). Recent contributions to publications include: Counter Signals 1, Militant Print / A Form Oriented to it's Own Circulation, edited and designed by Jack Henri Fisher and published by Other Forms, Fall 2016 - Winter 2017.
PETER RICHARDS | The flowers not here yet/the flowers gone
June 1-10, 2017
Periphery Space is pleased to present the recent mono-prints of the Vermont based poet Peter Richards. As the title and image suggest Richards is a storyteller both visually and verbally.
What kind of imagery does a seasoned poet who turns to painting create? For the past two years I have watched as Peter has developed a language and energy in his paintings that for many of us who know his poetry recognize. In both there is a vigor that sparks and crackles. I have been in his studio and watched him wrestle with a painting as he bodily works the surface scraping, layering, wiping all with speed as he seeks to capture something that he sees.
Reading a review of Richards' work by the poet and editor Robert Fernandez, I find that it could be just as fitting a description of his paintings. He states that the poems of Peter Richards’s show the poetic function at a revelatory pitch, sound spilling over into sense and seeing and recursively drawn back again into earthy flintiness and drive.
This feels like the case of when painting and poetry can perform functions of the other and inspire for the reader/viewer what the other cannot. Peter is lucky to be able to describe in both forms.
In this new work I want each piece to tell a story, but with only the aura of a story and perhaps it's setting doing the telling. I enjoy reading stories and so I’m interested in the ways stories evoke, transport, and enlist the reader into adventures built more out of atmosphere, tone, and voice, than what is ostensibly narrative. While events in life are important, I find it curious, and perhaps it stands as a rule—a great novel is great always despite it’s story. So I look in this new work to explore the question— outside of figure, what are some of the utilities a painting enjoys for creating realities that are at once habitable, intimate, and convincing. I’m also curious about the activity that exists somewhere in the overlap between viewing a painting and reading a text. I like to populate my paintings (suggestively) with what might be perceived as purely imaginary letters, and from alphabets and languages that are equally imagined. Imagined, but are they real? and if so, what are the semiotic, aesthetic, and spatial consequences when such lettering presents itself as not only imaginary, but also biological in form, and sentient in disposition? For me the question occurs simultaneous with the painting becoming embryonic in its outcome, and perhaps even still astral yet in the stage and mode it presents itself to the viewer. And as much as I want my painting to each one tell the particular story of how it came into being, it’s also true I wish for the viewer’s attention to absorb into the painting as one of its happily imagined, and living constituents. -PR
Peter Richards is the recipient of a Massachusetts Cultural Council Grant in Poetry, an Iowa Arts Fellowship, an Academy of American Poets Prize, and the John Logan Award. His poems have appeared in Agni, Colorado Review, Denver Quarterly, Fence, The Yale Review, and other journals. He is the author of OUBLIETTE (Verse Press/Wave Books, 2001), which won the Massachusetts Center for the Book Honors Award; NUDE SIREN (Verse Press/Wave Books, 2003); and HELSINKI (Action Books, 2011). He has taught poetry at the University of Montana (Richard Hugo Visiting Poet), Harvard University (Briggs-Copeland Lecturer), Tufts University, Museum School of Fine Arts, Brown University, Champlain College. He lives in Vermont, where he writes and paints.
Curated by Babs Owen
April 29 – May 27, 2017
Periphery Space is pleased to present Grids, a show that includes painting, sculptural painting, drawing and dance. The title and subject of the exhibition is taken from the influential 1979 essay Grids by Rosalind Krauss.
This group show focuses on six artists who have a shared fascination with the grid using various media. In object, movement or surface each artist explores a meditation on pattern, repetition and geometry in nature and everyday life.
Tara Fracalossi, Kinderhook, NY
Jacqueline Ott, Providence, RI
Lisa Perez, Providence, RI
Neal Walsh, Foster, RI
Laura Watt, Garrison, NY
“In the cultist space of modern art, the grid serves not only as emblem but also as myth… The grid’s mythic power is that it makes us able to think we are dealing with materialism (or sometimes science or logic) while at the same time it provides us with a release into belief (or illusion or fiction)”1
Mondrian, Agnes Martin, Peter Halley, Terry Winters are several artist’s heroes who dove deep into the grid and in doing so revealed new ways of using, seeing and thinking about the grid. The artists in this show are continuing this practice.
Historically in Lisa Perez’ work, she presents the grid as an object. Keeping the physical nature of her material in mind (rough cut canvas, bumpy paper maché, smooth paper) she also uses as a material the “illusion” of a reflected shadow to embody lines that describe her form. It’s real and not real, you can see it but not always touch it.
Like Perez, Neal Walsh often blurs the line between painting and sculpture. He uses cut squares of canvas, often repurposed, which he fixes onto a new surface and paints over in multiple layers. He creates a grid and works to keep it evident, while at the same time softening the lines with thick paint. Equalizing each square into a whole, they simultaneously exist as both material and content.
Lila Hurwitz and fellow dancers (Shura Baryshnikov, Heidi Henderson, and Cathy Nicoli) will perform Parallel Corridors/Maps of Space; movement works influenced by dance artist Barbara Dilley’s exploration of the “grid” begun in the 1970s. Dancers start with a limited range of movements in a set configuration. This constraint system tunes both the dancers’ and the audience’s attention and perception, "[A]t first, the grid may feel confining, an orthogonal prison of left and right…after a bit of work, it magically opens up (and) dancers find that they no longer have to follow it." 2
This kind of thinking is reminiscent of the work that Jacqueline Ott has long been creating. The immaculate precision and rhythm of her works is mesmerizing. As she makes her marks within the constraints of a grid, one senses a dance being performed on paper—brush stroke to the left, stroke to the right, counting as she goes, building up in layers her design.
Ott shares this observation of pattern and repetition with Laura Watt. Whereas Ott dances with her brush, Watt fiddles with her grid, warps and distorts it, seeing geometries and spatial structures. In her work one can see the preliminary penciled-in grid upon which she builds. The grid that Watt is building hints at a story, long and complicated, that needs to repeat itself.
Tara Fracalossi’s ongoing series called Archive uses picture-taking as a diary of her personal life and presents them as systems and grids that one reads as color and pattern first, and individual images later. Like the grid dance, Fracalossi is addressing repetition of movement: even though the pictorial box of the photograph will remain constant, what the photographer sees though the viewfinder is always changing. Presented this way, one sees more than just a photograph.
1 Rosalind Krauss. “Grids.” October, Vol. 9 (Summer, 1979): p54
2 Barbara Dilley in conversation with Melinda Buckwater,“Composing while dancing: an Improviser's Companion” Univ. of Wisconsin Press: p77
Laura Watt, Twisted Torso #5, 2016
Laura Watt, Twisted Torso #3, 2016
Jacqueline Ott, Slip 21.03.17, 2017
Jacqueline Ott, Udo 26, 2002
Tara Fracalossi, Archive (two from water blue/green), 2016
Tara Fracalossi, Archive (five from chandeliers), 2017
Lisa Perez, Lighter than theory, 2017
Lisa Perez, Aftershock, 2015
Neal Walsh, Untitled I and II, 2016, 2017
Neal Walsh, Untitled, 2017
Parallel Corridors/Maps of Space, Shura Baryshnikov, Heidi Henderson, Lila Hurwitz, Cathy Nicoli
Parallel Corridors/Maps of Space, Baryshnikov, Henderson, Hurwitz, Nicoli
Parallel Corridors/Maps of Space, Baryshnikov, Henderson, Hurwitz, Nicoli
ROBERT PAASCH | REALITY DUALITY Paintings from the Open Block Grid Series
December 3, 2016-January 14, 2017
The paintings in the Open Block Grid series attempt to visually address the idea of the mind superimposing its convictions onto nature and thus transforming and shaping (our experience of) reality. We don’t see what is, but what we choose to see, with the mind acting as a sort of filter that has been shaped by our past experiences and the resulting beliefs. Hence, there is a duality between reality and what we perceive as such.
Using two different modes of abstract imaging, i.e. a hard edge grid akin to computer pixels and Op Art, and a fluid gestural expressionism, I somewhat playfully explore this duality as well as the circular interconnectivity between its parts. The grid refers to the act of mental compartmentalization, i.e. identifying/naming, locating/mapping etc., which aids us in our attempt to comprehend and navigate our experiences. It is superimposed onto the ground, which can be seen as referring to raw, unfiltered reality, or else as a sort of psychological (land-)scape or backdrop that dwells in the subconscious.
The grid takes it’s initial cue, namely it’s color scheme (at least for the first few colors) from the background, after which it is developed like a game. Each color is meant to appear the same number of times while it is not allowed to be right next to itself. As in Solitaire, this does not always work out, but so be it. Often it does.
In the finished painting, the grid and ground exist simultaneously. Like two aspects or versions of a single occurrence, at once enhancing and partially obscuring each other, they co-exist in a circular, interactive relationship.
Robert Paasch was born and raised in Berlin, Germany. He first moved to the United States to study jazz composition and arrangement at Berklee College of Music in Boston, Massachusetts. While pursuing his studies, Robert also began spending much of his time painting and exhibiting in local cafes. After moving back to Berlin for a year, he decided to return to the United States to attend Bennington College in Vermont where he continued to study music but switched his main focus to the visual arts. In Vermont he also began to develop an interest in the philosophy of science. The ideas encountered in this discipline, concerning itself with perception and verifiability, fascinated Robert and have informed his art ever since.
Paasch is an independent artist living and working out of Queens, New York. He is also the installation preparator and coordinator at the Rubin Museum of Art in Manhattan.
Robert has exhibited both in Europe and the United States. He holds a B.A. in Painting and Drawing from Bennington College and an M.F.A in Painting and Printmaking from Yale University.
TINA TRYFOROS | IMPERFECT PARADISE
October 6-29, 2016
Tina Tryforos presents photographs and book works from her series Interference, Lovely, Dark and Deep and Trumpet.
In Imperfect Paradise images of nature become metaphors for the uncontrollable and mysterious forces in our lives: flowers stand in for individuals linked through tragedy, serene landscapes are disrupted with color aberrations, beauty is subverted.
Accidents shape my photographic work. Light reveals its materiality through double exposures and chemical abnormalities. Data unwittingly glitches during ordinary digital exchange. These phenomena happen by chance during my process. Through them I explore humans’ interference in the natural world, a longtime focus of my work.
I set out to document my apprehension with the woods. Dangers and mysteries lurk there, and the wall of growth that confronts me at the edge of the woods is dauntingly impenetrable. I look to the woods as both a boundary and a transition point. Crossing that boundary changes your landscape, perspective, and possibly state of mind. The tree line is the threshold where culture and comfort yield to wildness and awe. To enter the forest is to risk getting lost.
Unfortunately, I fear the adjusted, fragmented, and unnatural beauty that reveals itself in these pictures may foreshadow our future. -TT
Tina Tryforos is a photographer, bookmaker and educator based in Rhode Island. She explores human ecology and the complicated relationships people have with the natural world. Her experiences with nature were informed by the urban surroundings of a child growing up in Queens, NY in the 1970’s. Nature seemed mediated and compromised by human intervention, including her own. Her photographs are quiet comments on the disquieting evidence of how humans are playing with our planet.
Tina Tryforos has a BA in Art from Union College and an MFA in Visual Studies from the Visual Studies Workshop in Rochester, NY. She teaches photography and digital art at the Community College of Rhode Island.