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Exhibitions
Whore (Wonderful Healthy Orgasmic Recreational Engineering || 2008 || Mixed Media || 28 x 32 x 18 inches
Whore (Wonderful Healthy Orgasmic Recreational Engineering || 2008 || Mixed Media || 28 x 32 x 18 inches
Whore (Wonderful Healthy Orgasmic Recreational Engineering || 2008 || Mixed Media || 28 x 32 x 18 inches
Oil Spill, Thrill, Kill for a Mil || duct tape on canvas
Explode Entrapment || mixed media
Explode Entrapment || mixed media
Turn || acrylic, giclee print on canvas
Candidate || giclee print on vinyl, electro-cut vinyl mounted on museum-grade UV plexiglas
Logos || 2008 || Acrylic on Rag Paper || 64 x 50 inches
Exile || 2008 || Acrylic on Canvas
Please join us Saturday October 11 from 7-10pm for the openeing of an exhibition of new works by Nao Matsumoto, Bryan Rojsuontikul, and Ian MacLean Davis. Music by DJ Gavin Holland.
click here to download a copy of the press release.
October 11- November 2, 2008
Opening Reception:
Saturday, October 11
7–10pm
Hamiltonian Artists:
Ian MacLean Davis
Bryan Rojsuotikul
Guest Artists:
Nao Matsumoto
Staple/ Commodity || 2009 || Cast Iron/ Mixed Media
Oak || 2007-2008 || Cast Iron
Book Contour || books || 78 x 7 x 4 inches
Idea Over Object (four panels with text) (detail) || 2009 || blackboard, paint, chalk, pastel and pencil on Masonite || 48 x 96 inches
Pin Paper with Text || paper, straight pins || 10' x 6' x 2"
Idea Over Object (four panels with text) || 2009 || blackboard, paint, chalk, pastel and pencil on Masonite || 48 x 96 inches
A Contextual Stage (two clear plastic sheets with text, turned face-in to wall) || 2009 || Duraplex acrylic sheeting, dry-erase marker, hand mirrors || 30 x 120 inches
Hamiltonian Gallery and Hamiltonian Artists are proud to announce the opening of their fourth exhibition featuring the work of Mark Cameron Boyd, Christian Benefiel and Leah Frankel. Using archetypal objects, commonly used in their own practices, each artist manipulates, strips, cleaves, shrouds and sheathes their source material into new forms yet diametrically preserves its essence.
In “Theories and Documents,” Mark Cameron Boyd paints his own sentences as the subjects of his visual works, and through this practice, Boyd investigates text as a language for painting. Boyd’s art making process is directly apprised from his teaching and reading of art theory texts. In Boyd’s latest series, “Documents and Theories,” he creates numerous 4 x 6” blackboard panels on which drawn notecards are copied verbatim from his teachings of contemporary art theory, then, bisected. Also included in this body of work are large interactive panels that engage the viewer to read, decipher and literally complete the meaning of the text.
Drawn to construction or demolition objects, such as welding rods and chain-saw chains, that distinctly carr an air of strength and power, yet are disposable, Christian Benefiel disunites these objects from their working ensemble and preserves them in iron or paper. The natural chemical processes that render these objects useless in the first place, have, in turn, preserved them from their destruction. In his mélange of sculptural works, Benefiel has constructed a bread market, although the bread is iron-casted. In this installation, Benefiel uses two universal staples of culture – bread and iron – and demonstrates that both commodities share the same qualities of market-driven consumption.
Leah Frankel deliberates over the functionality of language in this quickly amalgamating world. Employing hundreds of books written in many different languages, Frankel transforms these pages and shells of the books into a visual imagery that, in her eyes, is far more expressive than the bounds of language would ever allow. Ripping out page after page – releasing them from their “binds” – then manipulating them in wax, Frankel authors a new contextual environment of organic, repetitive forms that are born from the text that she now deems secondary.
click here to download a copy of the press release
January 31 – March 14, 2008
Opening Reception:
Saturday, January 31
7–9 pm
Hamiltonian Artists:
Christian Benefiel
Leah Frankel
Guest Artist:
Mark Cameron Boyd
Barn || Hair on Mulberry Paper || 13 x 15 inches
Tree 3 || Hair on Mulberry Paper || 17 x 14 inches
Tree || Hair on Mulberry Paper
Bench || Hair on Mulberry Paper || 21 x 19 inches
“FOR and AGAINST Bench Project” installation view | 2007 | steel benches, video | dimensions variable
Detail from “FOR and AGAINST Bench Project” | 2007 | clipboards with public participants opinions
“FOR and AGAINST Bench Project” installation view of public portraits | 2007 | archival ink jet prints | 17 x 22 inches (each)
Hamiltonian Gallery and Hamiltonian Artists are proud to announce the opening of a three person exhibition featuring James Rieck’s newest series of larger-than-life oil paintings, Linda Hesh’s photographic works documenting recent installations and products used in them, and Youngmi Organ’s delicate drawings constructed from individual strands of her own hair. Including both bold moments and subtleties, each artist presents an idiosyncratic viewpoint on our material world.
In James Rieck’s “Great Ideas for the Great-Outdoors”, Rieck muses on the commercial products that a suburban man uses to interact with nature. Continuing to use inspiration from vintage catalog photography in his work, Rieck names this series after the 1970’s Sears catalog titled “Catalog of Great Ideas for the ‘Great-Outdoors’ Season.” The largest painting, serving as the focal point of the series and sourced directly from a 2008 Nissan Pathfinder advertisement, is, rightly titled, “Pathfinder” which depicts the bottom halves of the four tires of a Nissan Pathfinder sitting atop a misty waterfall. Five accompanying paintings each present a pedestrian product that Americans bring into the natural world everyday. With their studio-lit backgrounds, Rieck captures the stark coldness that these accoutrements possess, especially when compared with the richness of our natural world.
Linda Hesh is interested in the varied human interactions and relationships she observes, often combining everyday encountered social constructs, commercial products and public locations in her work. In projects “For and Against Benches” and “Desolation Doorknob Hangers”, Hesh has common commercial products constructed, on which uncommonly found text is written, and places them in public places. The text in bold font contains words or statements emotional and controversial. How the public interacts with these objects is what Hesh captures through photography in “For and Against Benches” where benches in red and blue reading either the word “for” or “against” are placed throughout the DC metropolitan area. Hesh also will display photographs from her “Desolation Series” for which she has hung commercially printed door hangers on the doors of galleries in Chelsea, New York. The hangers which pertain to failing relationships read statements of loneliness, longing and unrest such as, “I tried to forget” and “I don’t understand you” leaving open the desperate situation these fictional characters might have found themselves in, but suggestive of the unrest of the art market in this economic climate.
The drawings of Youngmi Song Organ speak a bit more quietly about her observations on the material world. Inspired by the complexity in simple life, she too uses the common, the banal product in her work. To construct her drawings, Organ affixes many strands of her own hair to mulberry paper, creating tightly rendered representations of domestic objects such as houses, barns and benches. By using her own hair, Organ references the life cycle and sense of the history and relationships involved in it. Inspired by the world in terms of microcosms, Organ sees any tiny speck as representative of, as well as itself part of, the entire miracle of nature. Organ takes the painstakingly long process of creating these drawings as a time to reflect on contemporary life, and how life and herself are changing over time.
click here to download a copy of the press release
