June 30 - July 21, 2016
Recent Work: Hanna Seiman, Basia Goldsmith & Kate Missett
Secret Life of Colors: Blossom Verlinsky
On The Wall: Cari Rosmarin
Carter Burden Gallery presents three new exhibitions: Recent Work in the east gallery featuring Basia Goldsmith, Kate Missett, and Hanna Seiman, Secret Life of Colors in the west gallery featuring Blossom Verlinsky and On the Wall featuring Cari Rosmarin. The reception will be held June 30, 2016 from 6 - 8 p.m. The exhibitions run from June 30th through July 21st.
In Recent Work, Basia Goldsmith presents recent paintings on canvas for her second exhibition at Carter Burden Gallery. Goldsmith begins with printing or transferring images onto the canvas surface. The images are photographs that the artist took of building exteriors such as torn posters and graffiti. Goldsmith then paints on top of the images with loose, colorful, energetic brushstrokes. Through the use of specific colors and marks, the artist visually responds to the printed images. In the paintings, there is a visual tension between the lower layer of imagery and the painted surface; there is a collision of new media and traditional painting. Goldsmith embraces digital technology, but then reclaims the surface with her marks.
In Recent Work, Kate Missett presents recent ceramic sculptures for her first exhibition at Carter Burden Gallery. The work in the exhibition comes from her ongoing series of canopic jars. The top segments of the sculpture are animals or humans, while the bottom portions are open vessels on which the animal or humans rest. Missett provides the context for how the viewer is meant to interpret the subject through imagery that she hand builds, paints, and transfers onto the lower vessels. The ancient Egyptians used multiple canopic jars to store and preserve specific organs during mummification. The artist worked at the Metropolitan Museum of Art while she was in graduate school, which led to her developing a scholarly knowledge of and fascination with ceramic cultures of the past. This interest, as well as extensive travels in Europe, the Caribbean, and India, led to the development of her large canopic jars made with a variety of clays and firing techniques. Missett’s canopic jars explore contemporary aspects of human and animal relationships to nature and the city.
In Recent Work, Hanna Seiman presents recent abstract paintings for her first exhibition at Carter Burden Gallery. The artist paints by pouring washes of thinned paint onto unprimed canvas. Seiman’s resulting stain paintings suspend the flowing and blending of the colors. The halting of movement of the colors becomes the visual focus. Through painting, the artist releases her emotions; her paintings become a conduit for her life experiences. Seiman understands and welcomes viewers to interpret her paintings from their own life experiences.
In Secret Life of Colors, Blossom Verlinsky presents recent paintings for her first exhibition at Carter Burden Gallery. Verlinsky’s paintings are luscious, intricate organic patterns of blues, reds, greens, purples, and gold. While the paintings are non-objective, they have a dream-like sensibility. The natural world and geology inspire Verlinsky’s paintings by using patterns and colors to create tactile recollections of precious stones and matter related to events. The artist begins by painting on unstretched linen. In the midst of painting, Verlinsky folds the linen, and adheres it to a canvas. The undulating surface of the canvas emphasizes the strata of retained and recalled memories and impressions. For the artist, deeply personal myths emerge from her subconscious as she explores her relationship with her inner self.
Cari Rosmarin’s large-scale installation, featured in the gallery space On the Wall, consists of large collages depicting animals that are affected by climate change. Using image transfers and vibrant colors, Rosmarin’s collages first seem to be positive celebrations of many different species of life. However, upon closer inspection of seeing certain bugs and animals as black silhouettes, with others painted over, it is clear that the artist is drawing our attention to something deeper. The rough torn edges suggest a hasty violent act of destruction. The artist intends to draw our attention to how global climate change threatens the vitality of all life on earth.