Winner's Face - Marilyn Monroe2
Stainless steel, oil on canvas
40 x 40 inches
Oil on canvas
41 x 40 inches
Acrylic on canvas
36 x 40 inches
Christos (Study #3)
Oil on paper
19 x 24 inches
Pretty Baby Pink
Screenprint on mirrored paper
19 x 24 inches
Oil on canvas
16 x 20 inches
Hand Embroidered on canvas
42 x 36 inches
BLANK SPACE is pleased to present a group exhibition titled IN PORTRAIT , featuring the works of (alphabetically) Erin Cone, Daniel Kornrumpf, Farsad Labbauf, Kathleen Migliore-Newton, Tara Misenheimer, David Pettibone, and Chulhee Yi. This exhibition explores both the diverse beauty of portraits and what a portrait is of. Through each work there is gained an understanding of how an artist's approach expresses the personality of the subject and artist him/herself. Each featured artist's work and purpose is as different as the subjects in portrait.
Using her ability to create emotionally-rich, ghostly paintings modeled after imperfect photographs, Erin Cone emphasizes visual impact over narrative context. There is a deliberate parley between the near-photorealistic detail and her own vocabulary of visual glitches that challenges the realism. This duality, evident in both “Evade” and “Allude”, allows the figures to remain wholly representational while functioning abstractly -- evoking emotion without defining it
Daniel Kornrumpf's hand embroidered “painting” process is beautifully executed, allowing the viewer to be taken in by the detail and positioning in the middle of a large, white background. Both “Austin Texas” and “Focal Length” pulls the viewer closer to view the small, central image of the subject that appears to be about to speak, and once leaned in, marvel at the individual threads that create these slightly offbeat images .
Inspired by Persian calligraphy, Farsad Labbauf has shown in exhibitions throughout the US, Europe and Iran. His exhibition works, “Christos (Study #3)” and “Christos (Study #1)”, echo the influences of his cultural heritage. In these painted tapestries of color are images that exist between completion and dissolution. It is the pursuit of this unity of two disparate states of representation where Labbauf's works convey an intriguing exploration of figurative painting with lines -- lines expressing unity, connectivity and movement.
Kathleen Migliore-Newton catches people in unselfconscious moments. “Music”, for example, is a portrait of observers engaged with a museum piece of art -- their gestures contrasting with the figure in the painting, but also connecting to this figure of the past. “Summer” and “The Light” on the other hand are two of her portraits that use simple composition and spare brush strokes. The use of layers of color express the contours and light -- revealing some of the character and personality of the sitter.
Focused on familiar and fundamental properties of hairstyles and sensationalized commercial objects from advertisements and photographs from the late 1960s and early 1970s, Tara Misenheimer explores concepts of beauty, identity and gender. Both “Pretty Baby Pink” and “Pretty Ponies” are results of her inspiration from a deep interest in hairdos and hairstyling as depicted in vintage magazines. Painting from original magazine pages, Misenheimer edits and crops images to eliminate less relevant aspects and to create juxtapositions and isolations.
David Pettibone paints from observation. In his view, there is no substitute for a living, breathing human being. His work attempts to truthfully portray the subject and the physicality of the medium (oil paint), by slowing down fleeting thoughts and feelings -- representing them on canvas. Pettibone's brushstrokes give up just enough detail to provide a realistic portrayal of each subject and just enough to create an almost dream-like state. In this space is evoked emotion and a shared moment between the viewer and the painted subject.
Chulhee Yi 's “Winners Face” collection features subjects in portrait that Yi refers to as “winners”. Individuals who have unique values and who move him personally. Using this medium to show dignity of the subject and juxtaposing the symbolism of awarding each a golden “mask” (using bronze, gold, diamond, etc. as dictated by each's values) with a layering process by which Yi overwraps oil painting on canvas layered on stainless steel perforated with holes.