Line Of Vision
Curated by: Jaynie Crimmins and Etty Yaniv
Opening Reception: Friday, June 1st, 7 - 9:30pm
In-Case Art Projects (the Brooklyn Fireproof Building)
In-Case Art Projects at the Brooklyn Fireproof Building brings together sixteen NYC based artists to inhabit the display cases on site with cohesive installations. Alex Sewell, Andrew Cornell Robinson, Yvette Molina, Thibaut Dapoigny, Christina Massey, Elise P. Church, Joseph Meloy, Kyle Gallup, Melissa Dadourian, Merav Ezer, Rosaire Appel, Arnie Lee, Jeanne Tremel, Audrey Stone, and Sylvia Schwartz were each invited to create an installation in a designated display case; and Annesta Le was invited to create a light installation on site. Running the gamut from abstraction to narrative, minimal to expressionist, drawing to assemblage - the artists in this show utilize to varying degrees linear forms as an impetus for their work.
Alex Sewell's paintings and drawings are informed by his personal narrative, while reflecting the culture and customs of his youth. His use of semiotics and direct compositions prompts the viewer to inspect and feel an association with the subjects presented which appear as interstitial totems of a larger story. Andrew Cornell Robinson’s drawing with collage “Hand Hold” derives from a series of figure drawings in public spaces, mostly while riding the subways on a daily basis. His visual taxonomy has evolved over time into a language of line, memory or narrative. Yvette Molina depicts a new pantheon of gods and superheroes. Coywolf- headed Psychopomp is a new deity born of three fathers: Egyptian god Anubis, Christian saint Christopher, and Native American trickster god Coyote - altogether reflecting on how we define, sort, and value life. Thibaut Dapoigny indulges in great linear details with a limited regard for space. He found the perfect subject for such formal choices to be the rhinoceros - an animal for which space is something to dominate, not recede from.
Christina Massey’s “Carbonation Collection” draws influences from textiles and botany. In a play on words she links Climate Change with the fashion industries reliance on changes of seasons, and how there is a shift and drifting away from what is slowly becoming vintage descriptions. Elise P. Church utilizes images from a stack of 1960’s snapshots as source material for the series “Shadow Boxes.” The intimate space in these lace-like, three by three inch squares hint at an era with a trace of familiarity, like the map of a memory. Joseph Meloy works in a style he calls “Vandal Expressionism,” a post-graffiti abstraction fusing primal elements of street art with AbEx, Art Brut, surrealism, and cave painting. Unencumbered by distinctions between the abstract and the figurative, his imagery is otherworldly yet distinctly urban. Kyle Gallup’s drawings are like a road map to the final image – the transparent lines in her landscapes guide us through space, shadow, and light.
Melissa Dadourian combines in her two dimensional fabric installation “Big Panties” elements of beauty, decoration, and humor through soft geometric shapes – highlighting the female body as an agent for empowerment. Merav Ezer made one image a day throughout a year - resulting in three hundred sixty five drawings. Each image in “Daily Homes” is made of tape, folded to form a continuous line without any cuts. The abstract, rational and emotional merge into one quick sketch along the lines of surrealist automatic drawings. Rosaire Appel’s digital drawings “Three Territorials” allude to active areas of change, or maps relating to ownership - but of what and by whom? Arnie Lee explores in his abstract images the fantasies between himself and issues that reveal the fear in the modern world - a catalyst to reinterpret collective memories of savage events.
The use of line has been important to Jeanne Tremel’s work as layered gestures that make space, thinking about the speed of making the line as an expression - whether painting, shaping or sewing. Audrey Stone explores line and color through drawing, sewing, and painting, creating shifts with coloration, material, and composition that interrupt the over all. In “Gradient Crush,” the parallel linear pattern is disrupted by having the oversized material fold and bend to fit the case structure. Sylvia Schwartz is intrigued by a line fluctuating between form and empty space, two edges colliding to suggest line. Annesta Le bends and sculpts neon glass to form gestural abstractions which are characterized by the use of strong, bold, and expressive lines in a subtle color palette.
Jaynie Crimmins and Etty Yaniv, the show curators, are both artists based in Brooklyn. They have collaborated on numerous curatorial projects, including a revival of this unique space at the Fireproof building a year ago (launching it as “In Case Art Projects”). Jaynie Crimmins is a visual artist and curator. Her work has been exhibited in the NYC metropolitan area, the Southeast and is currently in a solo show at the Rockland Center for the Arts. Etty Yaniv is an installation artist, art writer, and curator. She has curated multiple group shows in the tri state area and has recently started her own fine arts blog, Art Spiel www.artspiel.org