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August 8th-24th

patterns of making,...making patterns some speculations on space and postulations on pattern 


“I like the feeling of words doing what they want to do and as they have to do and as they have to do when they live as they have to live”... Gertrude Stein 


makers S and A work regularly—and sometimes obsessively—making, just making; resolutely studio-based and happily bound up in process; the materiality of paint and painting. 


Weaving pictorial narrative from the processes of pictorial layering, leaving a trace of where they have been, their paintings souvenirs of their own making. 


S is additive and subtractive, creating layers of texture and colour; grinding back down; drawing; covering and revealing; process as image (and vice versa); sedimentary actions of accretion and excavation. 


A on the other hand is rather always adding or correcting; collaging or overpainting; paint, thin and lean; layering as erasure; obfuscating and revealing; leaving trace. 


The layers of pictorial memory—pentimenti—crucial to both: one thick, material and sleek; the other paper thin; effacing, bright or washed out, chalky or shiny and bright. 


some verbs and other words for S masking, spreading evenly, drying, and unmasking, layering. The grid and dot. Repeating, smearing, scraping, gouging, sanding, scumbling. Fresh cut grass as masking material. some verbs and other words for A pouring, patterning, repeating, collage-ing, overlapping, juxtapositioning, jumping, situating, decorating, dripping, detailing, scale discrepancy, here and there. Seductive pleasure. Desire. 


pattern: S and A at work with pattern and patterns of working and patterns of making: one as the other. 


Contrapuntal compositions where melody or phrase is introduced then taken up and developed by interweaving parts; like the fugue trading in repetition, texture, memory, shadow; in contrasts. 


Layers weaving one over another; vibrant textures and territories; between sound and silence; image and emptiness. Between the memories of layer over layer, resolving to a tonic. 


Visual phrases and melodies spreading and weaving; spiraling outward and inward in tidal rhythms; nagging and nudging at counterparts; echoing; joining and rejoining. 


Counterpoint as oppositional tendency in S and A’s paintings. Patterns created. Patterns denied. 


tools: And made with what? 


For the orchestral string player many and varied are the techniques of the bow—a long- handled brush of sorts made of stick and animal hair—offering up vast landscapes and territories of sound and texture, speed and touch: legato, staccato, bariolage, détaché, pizzicato, collé, jeté, louré, portato, martelé, sautillé, sforzando, spiccato... 


And—brush in hand—each of these too the actions of painters. 


duration: How long is a painting and where did it begin? 


In idea? In action? In accident? 

In glimpse, guess, gesture? 


In the ritual(s) and the rhythm(s) of the studio. 


And in response; in call and response: successive phrases and direct replies; calling and responding; process as conversation; voices added and voices subtracted over time. 


A line—straight or sinuous, snaking, serpentine, zigging and zagging—a thread to be pulled or knit together?...a path to be followed?... 


Unfolding...disparate, disconnected, dissipating; hovering and harbouring; proximate; flirting and fighting; seductive and repellent; pinned; secured; fugitive. 


Short stories—without plot—thrust together. 


Collections colliding and connecting. Chance and choice. Doubtful and dysfunctional. 


Deliberate—decidedly, doggedly and determinately deliberate. 



Ecke Pfümpfe, Pyötsaari Finland July 2019 

Participating Artist

Andrew Cooks


http://www.andrew-cooks.com


Sabri Idrus


http://sabriidrus.com


Gallery hours:

Tues-Sat: 12pm - 6pm

Sun-Mon : Closed


e-catalogue

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May 30th- July 15th 2019

The subject of Urban Tribes is a portion of the urgent topic of the transnational movement of people in the era of globalization. A dilemma faced on many continents, it reveals the potential crisis in political, economic, and cultural arenas. The crises can be summarized as "what humanity is available?" Part of the answer is that being human means embracing cultural diversity. For those in caravans at the US border as well as immigrants who are already here, being human is holding on to aspiration in spite of accidents of birth. For others, it is a reverence for natural and social systems, as elaborated by artistic discourse.

“Tribe” nowadays is defined by ethnicity, national origin, language, art work, etc, and focuses on underlining the diversity of life.


URBAN TRIBES I - Urban Caravanwill feature different art at three locationsExhibition open to the public

  • at El TAller Art Center on May 23
  • at TAAC Tribeca /E. Tay/R Gallery on May 30
  • at NYFA on June 8

Section I of Urban Tribes focuses on world caravans, that is, all those who choose to leave the hometown looking for a better life on the material or spiritual level. Urban Caravan features art from New York and around the world.



Participating Artists

Miya Ando

Steven Balogh

Yutien Chang

Ching Yao Chen

Jen Pei Cheng

Andrea Coronil

Che-Min Hsiao

Felipe Galindo

Mingjer Kuo

Pey-Chwen Lin 

Yi-Chun Lo

Lulu Meng

Yu-chuan Tseng

Kelly Tsai/Ryan H. Smit

Peishih Tu

Find out more