Sunday, March 27, 2011

Fine Artist of the Month: Phases and evolutions of Hannah Mishin

For the past few months I have been doing an on-going series of writings about Fine Artists working in NYC.

This month I write a short Linked Essay for Hannah Mishin, one of the finest young Fine Artists of NYC.

Phases and evolutions of Hannah Mishin

To end, the being is not only the human. From the moment I first saw Hannah Mishin’s work, over 4 years ago, I saw that there was an elegance and sophistication rarely seen in contemporary painting. Mishin’s work utilizes both intimate minutia and the raw power of painting. The work has an enormous gravity, which attracts even the casual viewer. Mishin’s understanding of complex mental processes adds to each work and constantly builds on her language. It is a true false-color that guides her palate, layered in vivid spectrum and then covered with monochrome. Like a true Fine Artist, she utilizes subtlety and nuance for engaging the viewer thus showing her deeper understanding of surface. Her daily practice of painting, unlike Richter is not an expedition of painting ideas or fetishism, but a fully immersed painting experience. Her love of music is apparent, the visual noise meeting complex rhythm; then edited, mastered with her computer (her brain) which becomes the Glenn Gould dream: fully realized. Her latest work relies on applied paint through various stencils that have an end result of a slow unfolding that even the best digital photographic image and/or video can't capture. From discussions I have witnessed her constant learning and understanding of Fine Art and the world around her, Mishin’s work has matured and has had a consistent evolution, worthy of  following. While Mike Kelley might state that the avant-garde is dead, he should have taken Mishin's work into account. Her engagement with artists, and the entire art community in and around NYC has made a sustained difference. Here is the true "exploration of neurological functions as comprehensive of all that it is to be human". To begin, the human is not only the being.

As linked above, to see photographic documentation go here, I suggest to beg for a studio visit or better yet get her a show.

Sunday, March 20, 2011

Studio - rhythm, environment, and music

I have received a few questions about my studio set up, and what I think it actually entails. In upcoming posts I'll share more on how my studio functions.

I will start with what is a part of the milieu  (the environment). Music is more or less a constant in my studio. I love all music in all of its forms, from around the world; but do tend to gravitate towards certain styles and types in my studio. Below is a small sampling of music tracks played in the studio.

Please note all of the files are directly linked to the musicians and/or their distribution companies. Most tracks are able to download free of charge as well.

Flying Lotus - Computer Face/Pure Being

Tom Middleton - Return To Atlantis

Manic Street Preachers - I'm Leaving You For Solitude

Steve Reich - "Music for 18 Musicians" - opening thru section II

Publicist - Momma

Sunday, March 13, 2011

The Return/ ... /Enter Series: clarifications, extensions, etc...

Last week I received many responses and feedback about the work and the post. Some were confused and others were very interested in understanding more. Please excuse the misleading information and delivery, I take full responsibility.

The series of work, The Return/Pledge/Turn/Prestige/Enter, or for short "The Return/ ... /Enter" was begun in 2009. It stemmed out of the Parallel Panels body of work. For each of the 5 installations in the series, the requirements are: that all are squares (4 sides equal), there are 4 panels in each installation, there are 4 repeated elements inside each panel, all create a system which shifts, morphs, all are painted with oil paints or have them incorporated in some way, are on on different base medium (canvas, wood, linen, etc...), all transform in various ways in order to correspond to a panel or panels within each in the group, as well as other requirements. Each installation corresponds to each of the other installations and changes graphically and texturally, thus painterly throughout the entire series.

The title of the series is an analogy to the basic elements of all fine art experiences and it is an extension of the 3 basic segments of all magic performances: Pledge, Turn, and Prestige.

I created 2 of the installations in 2009, Substitution Trunk - ReturnLinking Rings - Pledge; I created Cups and Balls - Turn, this year, 2011; and I should complete the series in the year 2013 with the final 2 installations.

Still confused or even more confused? Try going here. If that doesn't work, try this.

Below are some images from one the other two installations created in 2009, Linking Rings - Pledge

Linking Rings - Pledge  (The Return/.../Enter series), 2009
{detail, #1 and #2 of 4 canvases}
Oil paint******on canvas*

Linking Rings - Pledge  (The Return/.../Enter series), 2009
{detail, #3 of 4 canvases}
Oil paint******on canvas*

Linking Rings - Pledge  (The Return/.../Enter series), 2009
{detail, #4 of 4 canvases}
Oil paint******on canvas*

Sunday, March 6, 2011

New studio work: Cups and Balls - Turn

Here are some photographic documented images of recently completed work, Cups and Balls - Turn (The Return/Pledge/Turn/Prestige/Enter series, #3 in a series of 5 separate installations; also part of the parallel panels -body of work/series). The images were taken today. The work is meant to be viewed in various light states and has no specific way of exact lighting (like most of my work). Included below is an image in dim light and in bright light to show this. Please let me know what you think.

Cups and Balls - Turn (The Return/.../Enter series), 2011 
{detail, 2 of 4 canvases, the same 2 canvases in each image, shown in 2 different lighting states}
Oil paint***** and glow in the dark acrylic paint* on linen*

Please note: this post has been updated, edited and mangled a bunch of times.