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Cite-Seeing

A preview of the IOI OOI New Primitives exhibition installation at BoxHeart opening this week!

BoxHeart IOI OOI New Primitives Installation, 2017 | Photo and Installation: BoxHeart Gallery, 2017

Also showing are William DeBernardi and Dale Huffman on the main floor.

DeBernardi’s oil paintings capture unsuspecting people in everyday situations: texting, paying a parking meter, visiting a museum and more. In their examination of what’s in front of them (snapped with cell phone pics!), DeBernardi’s subjects isolate themselves from everything that’s happening around them. Removed from the situation depicted, viewers of the exhibit are left to see human behaviour in totality–the cause and the commentary, the reality and the art–of being who they are: of being, human.

Huffman’s ceramics do not disguise the “personal touch” that formed them. So biographical are the “pressing,” “squeezing” and “gripping” of his vases and tea pots that they all feel like natural extensions of the human body itself. That a tea bowl would fit in your palm perfectly, or that a teapot handle attracts the natural place for your hand to land, instinctively. Huffman is willing to let the materials and the process speak for themselves, of which they do in volumes! If DeBernardi’s paintings are about emptying feeling out (and into the gallery!) then Huffman’s ceramics is about filling it up; Ooi’s (that’s me!) paper artifacts, inventing it anew by exploring from where it all began.

IOI OOI New Primitives and William DeBernardi and Dale Huffman run from August 22 through September 22, 2017.

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Primitives Prefigure Liberty

My new show, IOI OOI New Primitives, prefigures libertyLiberty Avenue that is–at BoxHeart Gallery, Pittsburgh PA from August 22 to September 22, 2017!

The Exhibition is a collection of hand -painted and -folded, gampi-paper modern artifacts inspired by the early expressions of primitive man and subsequent invention of art.

For me, personally, this is the work that has developed my understanding of form and colour in a new respect that has since shaped my artistic approach. In a way, these artworks are also my primitives.

IOI OOI New Primitives coincides with the main Gallery exhibit, William DeBernardi and Dale Huffman.

A HUGE thanks to BoxHeart’s indomitable duo, Nicole Capozzi and Joshua Hogan, for all their support and including me to their roster! Such an honour!

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Out of Time

Great news on the horizon, including upcoming exhibits and preview of latest work. (I’ll give you a clue: it has something to do with windows!)

Windows Composite, 2017 NAS  |  Digital Collage

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Rock of Ages

Sometimes in trying to build up the power within, it’s necessary to reach out to the powers around; especially the ones that have existed for ages, and especially if they are reaching out to you too. Given my approach to art, it should come to no surprise then that “gridding” with form and colour, in this case, semi-precious stones, is where I best find my will to expand.

Current support system includes blue calcite to channel energy; rose quartz for compassion, peace, self-awareness and -love; tree agate for courage and inner strength; and carnelian for creativity and confidence. Always selenite (not pictured) to clear and charge the other stones while increasing protection of the gridding.

Clockwise from top: Tree Agate, Rose Quartz, Carnelian, Blue Calcite

 My little strip-of-sunset layout in developing immunity to 2017’s rocky start.

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Dora’s Explorer

Anyone familiar with Pablo Picasso knows that the artist had many liaisons, with many women, which inspired his many, artistic periods. One muse, Dora Maar–whom Picasso first spied at the celebrated Parisian café Les Deux Magots playing the knife game in gloved hands–was to be the most thought-provoking to, yet badly treated by, the well-known lover.

For Picasso, Marr was fecund in intellect and ideas. It was Marr who explained (Jean Baptiste Camille) Corot’s cliché-verre experiments to Picasso, prompting his use of photographic plates for gelatine engraving. It was Marr too, who aroused Picasso’s development of “monster” artworks: extremely disfigured subjects in emotional turmoil and terror, of which Guernica, attests as the greatest example. And it was Marr, who in her separation with Picasso by introduction of his new lover, Françoise Gilot, gave him a parting shot as a siren to all women who suit thereafter: “You don’t know what it is to love someone.”

Femme en vert (Dora) (Woman in Green, Dora), 1944, Pablo Picasso | Oil on canvas, 51 1/5″ × 38 1/5″ | Image: Fondation Beyeler, Riehen via Artsy

As part of the exhibit, “Picasso: The Artist and His Models,” currently on view at Albright-Knox Art Gallery, Buffalo, Femme en vert (Dora) 1944, epitomizes Picasso’s command of commotion largely through composition and colour. In “monster” style, the handling of the green-black paint–applied or removed–in the portrait, manages to depict pattern, anatomy of the form, and even depth, within a single space. Though in contrast to the deformed “composed” female figure, irregular strokes applied on the side and in the background of the artwork, show the same suggestion of pattern, anatomy of the form, and depth as well. In other words, Picasso’s adherence to or deviation from the shaping of his art, produce the same effect, and thus, are used intentionally, and with purpose, making conflict, however marring in Picasso’s real-life, necessary to his artistic development.

Although, on the whole, Picasso’s liaisons recede from the limelight of the Albright’s show, they make their presence known by the selection of displayed works: Marcelle Humbert (commonly, Éva Gouel) for Cubism; Olga Koklova for ballerinas and harlequins; Marie-Thérèse Walter for the arabesque, female nudes of “Vollard Suite”; Marr, “monsters” and disfigured women; Gilot for fauns and satyrs; and so forth. Unapologetically, Picasso reached for his muses just as an artist reaches for his paints, pastels; supplies to be had on-hand in case of inspiration. Did Marr, and the many other women, envisage their influence would one-day amount to one of the richest catalogs of twentieth-century art conceived and left behind by a single artist? Did they believe that ultimately, it is art that conquers all?!

“Picasso: The Artist and His Models” continues through Sunday, February 19, 2017.

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Making a Splash

Chrissy Angliker makes a splash with a splatter and a slop, a stroke and a smear, using spoonfuls of confectionery-coloured acrylics on completed canvases that look more like Wayne Thiebaud’s palette tray than his paintings.

For her 2015 body of work, Angliker has moved from the previous “goopy” portraits and “rain-washed” scenes toward exploiting the impasto mark-making in depicting mobs at the beach–sunning, swimming, surfing–so that human bodies are lost in bodies of paint; the eye adjusting between recognizing the subject matter as the sunbathers or the splotches at any given time.

Chrissy Angliker | On Sand, 2015 | Acrylic, Ink, House Primer on Canvas, 120cm x 140cm

Chrissy Angliker | On Sand, 2015 | Acrylic, Ink, House Primer on Canvas, 120cm x 140cm

The trails of paint–intersecting, interrupted, in one direction, and another, in all movement–show nothing is distinct, not even if what the viewer perceives is a copy of a copy of a copy, enlarged and abstracted further, or described as it was originally seen: in some cases, reflections, refraction, waves, mists, and more.

Works predominantly painted with pastel colours tend to neutralize the very physical application of paint onto the canvas, but not totally. The chaos, in both the swarms of people and paint plopped down, resists the notion of appreciating Angliker’s art as solely eye candy.

For an in-depth look into Angliker’s process and full-framed artworks, the book, “Chrissy Angliker PAINT/ING/S” is available in a limited edition of 500. From what I can tell online, the folio seems to compound one more idea traceable in Angliker’s art: armchair traveling reinterpreted; sunscreen not required!

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The Old-New Spruce

Chatelaine posts the 2017 home decor trends, ready to “spruce” that space recently taken up by a certain tree, all-around, and all-year round! (Is it me, or does Slide 10 of the Post have a certain timeless quality to it?)

Chatelaine December 28 2016 | Photo Sian Richards | Prop Styling Jen Evans

Chatelaine December 28 2016 | Photo Sian Richards | Prop Styling Jen Evans

L. A. Pai trend-sets with “Meta-Chroma”–still on view–and more gallery artistsartworks too!

L.A. Pai Gallery December 2016 Meta-Chroma Exhibition | Photo L.A. Pai Gallery

L.A. Pai Gallery December 2016 Meta-Chroma Exhibition | Photo L.A. Pai Gallery

PS – To be objective, personal bias gets checked as Elle Decor and Vogue–where Young Huh weighs in–forecast geometrics and pattern will be big for 2017 too. Happy New Year!

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Gift Rapt

2016 was a beast. With a few weeks still left for surprises to start, its time is overdue: enter beauty.
The 29th annual Exhibition of Contemporary Canadian Jewellery at L.A. Pai Gallery starts today, December 8, 2016: Vernissage, 5-9 p.m. Gratitude will be in attendance too!

LA Pai 29 Jewellery Annual Canadian Contemporary Exhibition

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Abuzz, Room 210

BoxHeart Gallery, Room 210 at Aqua Art Miamion now!

BoxHeart Gallery, Aqua Art Miaim, 2016 | Photo Irina Koukhanova

BoxHeart Gallery, Aqua Art Miami, 2016 | Photo Irina Koukhanova, 2016

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The View Within

“Meta-Chroma” is about the evolution of primitive man identifying as author, as artist, when expression–by way of pattern, shape, and colour–is attributed to communication.

The work, my first in “technique colour,” debuts at L.A. Pai Gallery this week; officially launching, December 8, 2016. 

Axis 1, 2016 | Gampi, acrylic, ink | 8" x 8" x 1.5"

Axis 1, 2016 Andrew Ooi  | Gampi, acrylic, ink | 8″ x 8″ x 1.5″

A very big thank-you to L.A. Pai in making way for presentation (!) within view!

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