For Immediate Release: Hogar Collection 111 Grand Street, Brooklyn, NY 11211 Gallery
Hours: 12:00 – 7:00pm Thursday – Monday |
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Hogar
Collection is pleased to present “The
Unseen Scene” June 10-
July 31, 2005 Opening reception Saturday, June 11, 6-9pm The
artists in The Unseen Scene conjure a sense
of the natural order of things and are inspired by organic elements
of nature, geometric shapes that evoke building, and the magical/mystical
randomness of what comprises the “hidden makeup of life”. |
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| Douglas Durning | ||||||||||||||||||||||||
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| Douglas Durning’s works on paper are organic geometric abstractions that bring into play the idea of many single parts creating whole unified systems. He is curious about and references the place where the lenses focus switches, creating a sense of the small as large, and the large as small. He describes this by saying, “Through a certain lens a corncob is no different than a building. A highway is a tree trunk and neither are far from plumbing. Through this same lens, scale is unimportant as the value of a thing or system depends only on the beauty of its function, not its size.” | ||||||||||||||||||||||||
| Sharpy | ||||||||||||||||||||||||
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Using
a similar concept of a micro and macro view, the collaborative
duo Sharpy, (Cecilia Biagini and Dahlia Fischbein),
will present a non-narrative stop motion animation video. Created
using a random improvisational composition; colored wooden blocks
construct and deconstruct themselves into kaleidoscoping patterns
and arrangements where the notion of their proportions and scale
is indefinite. |
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| Matthew Johnson’s recent landscape paintings invoke a sort of surreal nonchalant apocalyptic feeling, where architectural elements weave together and support structures that are at odds with each other and simultaneously degrade and rejuvinate themselves. The scenes inhabit spaces that look as if they would be on a “normal day”, quiet and peaceful and we the viewers just happen to become random by-standers to these “natural” ephemeral events. | ||||||||||||||||||||||||
| Matthew Johnson | ||||||||||||||||||||||||
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| Lia Zuvilivia’s drawings are playful minimal scenes where abstract spherical objects overlap and intersect with other objects that exist in “invisible” layers. Almost as if they were exposing other dimensions, the works resemble a romantic model that visualizes the manner in which molecules interact, exposing their meta-physical sub-orders. | ||||||||||||||||||||||||
| Lia Zuvilivia | ||||||||||||||||||||||||
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| Martin Reyna’s new abstract paintings reminisce of void landscapes that are veiled behind colorful vivid blurs. Reducing them to laborious minimal expressionistic gestures, the paintings seem as if they could be the record or the effect of a passed moment. He “wants to paint the unreal light of landscape, activating the color contrasts, using each time a wider range, next to the rainbow, as if aspiring to reach the whole. His painting turns serene due to its careful expression, and tense because of the clash of lights inside an infinite space.” | ||||||||||||||||||||||||
| Martin Reyna | ||||||||||||||||||||||||
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| Sue
McNally’s
recent works on paper are a continual part of her practice of
on-site landscape painting. Using nature as her inspiration she
finds compositions that she translates into dreamlike scenes,
where objects like rocks appear as if they can mutate into vegetation
and the scenes have a certain air of lightness to them that they
seem as if they are floating away. |
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| Sue McNally | ||||||||||||||||||||||||