December 3 – December 23, 2014.
J.J. L’Heureux, Ross Ice Shelf 1, 2014, photograph, 32"x144"
New York, NY: Resonance and Memory: The Essence of Landscape is a group exhibition organized by Katharine T. Carter & Associates, hosted by Elga Wimmer PCC, curated and managed by Robert Curcio of curcioprojects. Each of these artists, in his or her own unique way, commemorates the profoundly mysterious, elusive, and imaginary qualities of landscape.
Kathleen Elliot’s (CA) flameworked glassworks arose from her great love of plants, their life cycles and the beauty of all their parts – the spiritual connection she feels with nature in her own imagined Garden of Eden. Sandra Gottlieb (NYC) shapes perception, time and place in her sensual ocean images photographed at Rockaway Beach, Queens. In her sixth series, October Waves, she deals with the pure essence of each wave; the dramaturgy of the wave; its strength and strum and drang. J.J. L’Heureux (CA) has provided us with an image of a tiny portion of the Ross Ice Shelf... the face we see is 50-150 meters high and extends for 800 kilometers; in its entirety, it is the size of France. Overwhelming and awesome in its silent majesty, it remains fragile and ever changing.
John Lyon Paul’s (NY) sculptural devices reference abstract, organic and geological forms, suggesting the burden of human suffering and hope. True to their material origins, he creates a deep connection to the fragile world that we inhabit. In Rebeca Calderón Pittman’s (OH) recombinant drawings, reality becomes transparent; places that are ordinarily distinct become part of a single, flowing image space; her delicate layered drawings are dominated by the emptiness that pervades them.
Gerry Tuten’s (PA) work investigates the relations between gestural abstraction, and her ongoing interest in nature, often illuminating the site she is rendering. Of an ephemeral nature, her paintings describe the intangible qualities of water and forest. Gail Watkins (MD) combines paint with organic substances (sand, stone, and glass), often mistaken for a geological sample; creating an intimacy between the viewer and work that is at once primitive, spontaneous, and powerful. Martin Weinstein (NYC) creates paintings on 3-5 sheets of plexiglass layered together to form an image of illusionistic depth; he interprets this special theatre by depicting the same scene multiple times, and by inserting discontinuous elements... a reminder of the tenuous nature of reality itself.
For further information contact: Katharine T. Carter, Katharine T. Carter & Associates: 212.533.9530, email@example.com / www.ktcassoc.com. Robert Curcio: firstname.lastname@example.org; 646.220.2557.