SILVERMAN AND HAMILTON SQUARE CONDOMINIUM ASSOCIATION present
Candy Le Sueur: Where Dreams Land

Opening Reception: September 11, 2015, 7–9 p.m.

Hamilton Square
232 Pavonia Avenue
Jersey City, NJ 07302
201.434.8000

Exhibition on view in the lobby from September 11, 2015 — January 2, 2016.

Candy Le Sueur, Landed, 2013, oil on canvas, 60 x 48 inches

Candy Le Sueur, Landed, 2013, oil on canvas, 60 x 48 inches

“Sea, sky, and land colliding are completely ingrained in my visual language. This just pours out of me. This is what I love to paint.”  – Candy Le Sueur

SILVERMAN AND THE HAMILTON SQUARE CONDOMINIUMS ASSOCIATION present “Candy Le Sueur: Where Dreams Land,” curated by Brendan Carroll. This exhibition features nine large abstract landscape paintings that were created between 2012 and 2015. Each painting is oil on canvas. The exhibition also includes a series of small-scale prints and encaustics.

Candy Le Sueur’s evocative paintings suggest the natural world. The landscapes she depicts are rarely, if ever, still or recognizable. Light, atmosphere, and bravura paint-handling pervade. Paint alternates between viscous blasts and transparent washes, as each work seeks to strike a balance between solidity and effervescence. Part of the appeal of Le Sueur’s paintings is the threat that one of these forces may undo or overpower the other.

Although Le Sueur’s paintings give the impression of having been executed with great speed, in actuality, Le Sueur constructs her paintings over time, in a deliberate fashion. “I start with a wash of a solid color—usually a pale gray-blue—and let this dry for a day or more depending on the season. Then I apply a further layer of lighter and darker tones, which gives me some structure,” she explains. “Next, I build up the surface using a wet-to-wet technique, addressing one area of the canvas at a time. . . . This way of painting allows me to blend the color and soften where one area meets another. I push the paint around a lot.

Le Sueur paints as soon as she gets going in the morning, usually around 8:30 a.m. “I find my energy is best at that time,” says the artist. She paints for roughly six hours and then takes a break to eat and read. She returns to her studio in the early evening to paint from 4 to 6:30 p.m. She prefers silence to music when she paints. That said, if she needs some creative sparks, she listens to Van Morrison or Rodríguez, a folk musician from Detroit who was famous in South Africa.

When Le Sueur began her career, she concentrated her attention on the landscape of her native South Africa, but soon afterward, the images she constructed could not be identified by a specific region. One of the joys of viewing Le Sueur’s works is the myriad places they evoke: a windswept crag at the end of the world, a jagged coastline deluged by rain, a sunbaked plain enveloped by azure skies. Today, Le Sueur paints her landscapes from her studio in Jersey City. “I don’t need to be in the physical locale to paint my work,” says the artist. “My paintings are landscapes as I imagine them, relying on memory, intuition, and emotion.” Although Le Sueur’s style may recall, at first glance, the gestural brushwork of Abstract Expressionism, what emerges on repeat viewings is the artist’s strong affinity to Romanticism, the early-nineteenth-century artistic movement that turned to nature and the sublime as its primary sources of inspiration. Objectivity is eschewed in favor of poetic interpretation. Indeed, Le Sueur does not so much portray landscapes as she conjures them in the act of painting.

Le Sueur is an internationally recognized artist that has exhibited her work in South Africa, Switzerland, Germany, and United States. National Academy Museum, Jersey City Museum, and Drawing Rooms, among other venues, have exhibited her paintings, prints, and encaustics. Her work is included in several private collections both home and abroad. She received her Fine Arts Degree from University of Johannesburg in South Africa. She continued her studies at National Academy School in New York City. She was born in Kroonstad, South Africa, a small town in the center of the country, about 120 miles south of Johannesburg. She lives and works in Jersey City.

The exhibition will be on view at Hamilton Square Condominium Association from September 11, 2015 through January 2, 2016. For further information, please visit us at SILVERMAN or call 201-435-8000.

“Candy Le Sueur: Where Dreams Land” is the twenty-seventh exhibition that Brendan Carroll will organize for SILVERMAN. For additional information on the artist, go here: candylesueur.com.

SILVERMAN has presented the works of Kirk Bray, Anna Mogilevsky, Edward Fausty, Ali Harrington, Sara Wolfe, Anne Percoco, Shauna Finn, Melanie Vote, Paul Lempa, Fanny Allié, Michael Meadors, John A. Patterson, Charlotte Becket, Roger Sayre, Karina Aguilera Skvirsky, Tom McGlynn, Margaret Murphy, Valeri Larko, Tenesh Webber, Glenn Garver, Jennifer Krause Chapeau, Michelle Doll, Tim Heins, Megan Maloy, Laurie Riccadonna, Thomas John Carlson, Tim Daly, Ann Flaherty, Scott Taylor, Jason Seder, Sara Wolfe, Beth Gilfilen, Andrzej Lech, Hiroshi Kumagai, Victoria Calabro, Asha Ganpat, Darren Jones, Ryan Roa,Laura Napier, Risa Puno, Nyugen E. Smith, Amanda Thackray, and Kai Vierstra.

Transportation directions from Lower Manhattan to downtown Jersey City.

SILVERMAN AND MAJESTIC THEATRE CONDOMINIUM ASSOCIATION present
Kati Vilim: Radius of Action

Opening Reception: July 8, 2015, 6–8 p.m.

The Majestic Theatre Condominiums
222 Montgomery Street
Jersey City, NJ 07302
201.435.8000

Exhibition on view in the lobby from July 8, 2015 — October 31, 2015

Kati Vilim, 36 squares, 2011, oil, canvas on wood, 48 x 48 inches

Kati Vilim, 36 squares, 2011, oil, canvas on wood, 48 x 48 inches

“I am fascinated by the discoveries available through the physicality of paint, color and a simple shape as the square and how these sensory experiences can opening up our awareness and elevate us.” — Kati Vilim

SILVERMAN AND THE MAJESTIC THEATRE CONDOMINIUMS ASSOCIATION present “Kati Vilim: Radius of Action,” curated by Brendan Carroll. This exhibition features seven hard-edge color paintings that were made between 2007 and 2012. Each painting is oil on canvas mounted on wood panel.

Vilim’s straight-faced paintings assert themselves like a prizefighter’s stiff jab. They open up space. She is a master colorist and composer of simple flat shapes, which often have more than three straight lines. In her compositions, both regular and irregular forms jostle, intersect, and overlap to create a dynamic sense of depth, space, and movement. That said, the primacy of the picture plane is never broken. Flatness is key. Surfaces unruffled.

Kati Vilim, 3d2d, 2011, oil, canvas on wood, 48 x 48 inches

Kati Vilim, 3d2d, 2011, oil, canvas on wood, 48 x 48 inches

Color perception — which involves psychology, physiology, biology, chemistry and physics — is one of the central concerns in Vilim’s work. Due to its complexity, she uses a back-to-basics approach to color, which is formal and playful. Most of her work feature a specific set of colors: cyan, magenta, yellow, red, green, and blue. They appear in unspoiled fields — pure, unrepentant, bold. Often, she pits opposing colors next to each other in confined settings, which seemingly advance and recede in perpetual motion. The results are electrifying. What unifies her work is their strong sense of color, clean lines, impersonal execution, and hard edges.

Preliminary drawings provide the foundation for each painting. In this stage, improvisation is not only welcome, but it is also encouraged. For Vilim, works on paper give her the freedom to try multiple ideas. “After testing a few different directions, the final design usually develops itself,” Vilim notes. “I define all the details, and based on that drawing, I start to work on the painting.”

Kati Vilim, Crossing Beyond 2011, oil, canvas on wood, 48 x 70 inches

Kati Vilim, Crossing Beyond, 2011, oil, canvas on wood, 48 x 70 inches

Here are Vilim’s reasons why she prefers abstraction:

“I became interested in abstraction just as I started to paint. It is hard to answer why I started to work with structure and abstract shapes instead of figures or narratives. When I thought about it later, it did become clear that abstraction is important not only for me but for every human. It is part of our everyday life, although we might be not aware of that.”

What I find so intriguing about Vilim’s abstract paintings is how they require, and reward, sustained attention. I imagine some people may find them easy to dismiss, but they’d be foolish to do so.

Kati Vilim is an internationally recognized abstract artist. She investigates the visual language as an abstract system, creating new content based on algorithms, color theory and rhythmic patterns. Her media ranges from oil painting, printmaking and drawing, to electric light installation and digital animation. Her work has been featured in numerous galleries and museums, including The Harold B. Lemmerman Gallery, NJCU, Jersey City, NJ; Sheldon Museum of Art, Lincoln, NE; Walsh Gallery, Seton Hall University, South Orange, NJ; Paul Robeson Galleries, Rutgers University, Newark, NJ; Gallery of Modern Art, Veszprem, Hungary, and Panepinto Galleries, Jersey City, NJ, to name a few. The Brooklyn Rail, Hyperallergic, and Jersey City Independent have reviewed her work. Vilim received her MFA from both, University of Fine Arts, Budapest, Hungary and Montclair State University, Montclair, NJ. Vilim was born in Budapest, Hungary. She lives and works in Jersey City, NJ.

The exhibition will be on view at Majestic Theatre Condominium Association through October 31, 2015. For further information, please visit us at SILVERMAN or call number (201) 435-8000.

“Kati Vilim: Radius of Action” is the twenty-sixth exhibition that Brendan Carroll will organize for SILVERMAN. For additional information on the artist, go here: Kati Vilim.

Transportation directions from Lower Manhattan to downtown Jersey City.

SILVERMAN and Hamilton Square Condominium Association present 
Kirk Bray: “Seeing It Again” 

OPENING RECEPTION: Wednesday, May 6, 2015, 6–8 p.m. 
Hamilton Square 
232 Pavonia Avenue
Jersey City, NJ 07302 
201-435-8000
Exhibition on view in the lobby from Wednesday, May 6, 2015 to August 31, 2015 
Kirk Bray, Underwater Group Date, 2011, oil on found canvas, 62 x 48 inches. Courtesy of the artist.

Kirk Bray, Underwater Group Date, 2011, oil on found canvas, 62 x 48 inches. Courtesy of the artist.

“I enjoy seeing the reaction of the viewer.  If they smile or laugh, I know they get it.  Hopefully, my work has brought them back to a pleasant childhood memory”— Kirk Bray

SILVERMAN AND HAMILTON SQUARE CONDOMINIUM ASSOCIATION present “Kirk Bray: Seeing It Again,” curated by Brendan Carroll. This exhibition presents more than 30 works made during the last seven years. Over this time, Bray has developed a diverse body of work that includes paintings, collages, assemblages, and found objects. The show includes works on paper, cardboard, linen, and canvas.

Bray’s work evades categorization. He often combines representational elements with flat, geometric grounds. To be frank, his visual language is hard to pin down, and that’s part of the fun. It seems to be drawn as much from a deadpan observation of the world around him as it is inspired from his unconscious.

Bray’s work is distinguished by its reliance on found canvas and paper—magazine clippings, old diaries, found drawings, odd ephemera, and the skillful manipulation of these materials, which he often finds in vintage stores and estate sales, as well as on the street and inside dumpsters. His work is built of separate elements that create strange images, combining threat, comedy, and fantasty. At times, the disparate materials retain their original identities. At other times, they are combined to create an entirely new persona. More often than not, the paper has a rich patina, which suggests the touch of human hands, as much as the passage of time.

Bray’s reinventions of objects from ordinary life do not signify pedagogic declarations. What they do provide is a humble visual poetry open to interpretation. His work evokes delight.

Bray received his Bachelor of Science in Apparel Design and Manufacturing from University of Wisconsin—Stout in 1996. Calico Gallery, Mary Benson Gallery, Goose Barnacle, and Gallery 454, among other venues, have exhibited his paintings and collages. He lives and works in Jersey City, NJ.

The exhibition will be on view at Hamilton Square Condominium Association through August 31, 2015. For further information, please visit us at SILVERMAN or call number 201-435-8000 .

“Kirk Bray: Seeing It Again” is the twenty-fifth exhibition that Brendan Carroll will organize for SILVERMAN. For additional information on the artist, go here: kirklandbray.com.

SILVERMAN has presented the works of Anna Mogilevsky, Edward Fausty, Ali Harrington, Sara Wolfe, Anne Percoco, Shauna Finn, Melanie Vote, Paul Lempa, Fanny Allié, Michael Meadors, John A. Patterson, Charlotte Becket, Roger Sayre, Karina Aguilera Skvirsky, Tom McGlynn, Margaret Murphy, Valeri Larko, Tenesh Webber, Glenn Garver, Jennifer Krause Chapeau, Michelle Doll, Tim Heins, Megan Maloy, Laurie Riccadonna, Thomas John Carlson, Tim Daly, Ann Flaherty, Scott Taylor, Jason Seder, Sara Wolfe, Beth Gilfilen, Andrzej Lech, Hiroshi Kumagai, Victoria Calabro, Asha Ganpat, Darren Jones, Ryan Roa,Laura Napier, Risa Puno, Nyugen E. Smith, Amanda Thackray, and Kai Vierstra.

Transportation directions from Lower Manhattan to downtown Jersey City.

Transportation Directions from Lower Manhattan to Hamilton Square Condominiums

Transportation Directions from Lower Manhattan to Hamilton Square Condominiums

SBMT_Art_Anna Mogilevsky_Back_March2015_Pcard_Released

SILVERMAN AND MAJESTIC THEATRE CONDOMINIUM ASSOCIATION present
Anna Mogilevsky: Mirrors, Mirages, and Archetypes.

Opening Reception: Friday, March 6, 2015, 7–9 p.m.

The Majestic Theatre Condominiums
222 Montgomery Street
Jersey City, NJ 07302
201.435.8000

Exhibition on view in the lobby from March 6, 2015, to June 30, 2015.

I create allegories of the inner workings of the mind with archetypal narratives in which all of the roles and characters are played by my own reflections” – Anna Mogilevsky

SILVERMAN AND MAJESTIC THEATRE CONDOMINIUM ASSOCIATION present “Anna Mogilevsky: Mirrors, Mirages, and Archetypes,” curated by Brendan Carroll. This exhibition will include seven large-scale works on paper that the artist started in 2013. If there is one word to describe her sumptuously drawn works, it is enigmatic.

Working on paper with pencil, Mogilevsky has created interlacing self-portraits that are forged through a synthesis of personal contemplation and imagination. At first glance, the drawings appear to depict straightforward domestic interiors populated by young women. On repeated inspection, they reveal a peculiar, idiosyncratic world that is inhabited by one character—the artist herself—performing multiple roles: the glutton, the provocateur, and the double, to name a few.

In Point of View, we see five representations of Mogilevsky. Each Mogilevsky has her back turned to the viewer, as she stands, squats, and stumbles in a spare room with a large window. In Veiling and Unveiling, Mogilevsky appears three times, but facial recognition is obscured. A seated and standing Mogilevsky are presented in Allegory of Drawing, but both versions avoid eye contact with the viewer. In Searching for the Light, Mogilevsky stares into the mouth of her seated opposite. These drawings mimic traditional portraiture in name only: The scenes feel remote, not of this world, dreamlike. There is not a single work here that will not reward close looking for its virtuoso draftsmanship and cerebral acuity.

The artist’s approach to portraiture begins with an idea or image that comes through a moment of inspiration. This sudden realization can occur at any time: while she is listening to music, walking through a park, or watching a movie. Sometimes the image can be realized immediately. At other times, it can take several sketches. Mogilevsky’s sketch serves as roadmap for a photo shoot, in which the artist inhabits the characters she has envisaged in her mind’s eye. From these photographs, the artist composes a digital collage in Photoshop that serves as the foundation of her drawings. In addition to her computer-generated collages, she often relies on individual photographs to inform her pieces, but Mogilevsky’s getting into character cannot be overlooked. “I feel that my poses have to be as close to the original sketch as possible,” says the artist. “I have to act out these archetypes in order to mimic the emotional and psychological states of these characters.”

Most of the settings are based on the artist’s actual living spaces. However, she modifies the scenes to serve her ultimate vision. For example, she will remove or add furniture, as well as introduce specific props to achieve her mental picture. That said, Mogilvesky does not want the viewer to get caught up in the visual trappings. For her, the key element to understanding her work is the interaction between the figures. “I am trying to create a tension between a place that is familiar to us yet foreign at the same time,” notes the artist. “The self-portraits are a way for me to materialize these intangible and mysterious moments and make the emotional aspect of each archetypal portrait more felt.”

In a world where selfies have become everyday expressions, why is self-portraiture still relevant in the art world today? The answer is intention. The selfie, in most cases, is a record of what the picture taker is doing in a given moment. By stark contrast, an artist’s self-portrait is a deliberate meditation on the artist’s place in the world, the universe, art history, and time itself. In Mogilevsky’s case, self-portraiture raises more questions than provides concrete answers, and that’s part of its uncanny appeal. “Self-portraiture reveals something about artists and their understanding of the world, their thoughts and feeling about the particular subject, their psychology, etc.,” says Mogilevsky. Here, she walks a fine line between technical virtuosity and conceptualism, and part of the joy in looking at these works is seeing how she balances those competing ends.

The exhibition will be on view at Majestic Theatre Condominium Association through June 30, 2015. For further information, please visit us at SILVERMAN or call number (201) 435-8000.

“Anna Mogilevsky: Mirrors, Mirages, and Archetypes” is the twenty-fourth exhibition that Brendan Carroll will organize for SILVERMAN. For additional information on the artist, go here: annamogilevsky.com

Born in Russia, Anna Mogilevsky immigrated to the United States in 1993. She attended the Rhode Island School of Design and earned her MFA at the Massachusetts College of Art and Design. Her work explores the depth of human character using her archetypal selves through mediums including pencil, photography, and performance. Mogilevsky has lectured at RISD, Northeastern University, University of Massachusetts Lowell and Dartmouth, and Bridgewater State University. She is currently leading her own artist development program, which offers online and private instruction.

Transportation directions from Lower Manhattan to downtown Jersey City.

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SILVERMAN and Hamilton Square Condominium Association present
Edward Fausty | A Fragile Utopia: The Days of 111 First Street

Hamilton Square
232 Pavonia Avenue, Jersey City, NJ 07302
201.434.1000

Opening Reception: Wednesday, January 7, 2015, 6—8 pm. 

Exhibition on view in the lobby January 5, 2015 to April 30, 2015.

Dog Sleeping, Lowenstein/Malak Studio, 2005, digital pigment photograph, 17"x17" on 21"x21" Arches Cover paper

Dog Sleeping, Lowenstein/Malak Studio, 2005, digital pigment photograph, 17″x17″ on 21″x21″ Arches Cover paper

“What has always touched me in music and art and life is loss or its possibility/inevitability.”
–Ed Fausty

SILVERMAN AND HAMILTON SQUARE CONDOMINIUM ASSOCIATION present “Edward Fausty: A Fragile Utopia: The Days of 111 First Street,” curated by Brendan Carroll. This exhibition presents more than 20 large-scale photographs of a former tobacco warehouse that once housed a vibrant artist community in downtown Jersey City.

Photographer Edward Fausty lived and worked in 111 First Street, a five-story red brick warehouse building that was home to more than 150 artists and small businesses. The former cigarette factory sprawled over 328,000 square feet and occupied an entire city block near the waterfront. For 15 years, the building not only provided a refuge for artists, but it also, arguably, functioned as the city’s cultural epicenter. In 2005, New Gold Equities, led by Lloyd Goldman, evicted the artists, and in 2007 it demolished the building to develop the site for residential use. As of now, ground has yet to be broken on the site.

Between 2001 and 2005, Fausty photographed the building, its immediate environs, and the makeshift studios where the artist lived and worked. He photographed 111 First Street with the nuance of a poet and the precision of a surgeon, creating an encyclopedic visual catalog of the site while subtly addressing issues of gentrification, class, urban redevelopment, and displacement of the creative community.

The sensations of loss and dread that Fausty conjures by capturing once-vibrant objects alongside signs of decay are real and concrete. An overhead lamp in the shape of an elephant’s head illuminates a vacant hallway. A series of lithographs hang like laundry on a line in a cramped studio. A dog sleeps on a blue pillow, a few bones by its side. A toilet and a riser await the demolition crew in a vacant room. The ghosts of 111 First Street are felt everywhere.

The atmospheric quality of light, the carefully balanced compositions, and the overall tenor of the subjects depicted suggest the paintings of Johannes Vermeer. The silence is palpable. In other ways, the series is a kind of meditation on death or dying, as it documents the systematic dismantling of this building and the dispersal of its inhabitants. There is a near tangible tension in the series between “aesthetic beauty” and “ruin.” Devoid of people and suffused with premonitory gloom, the photographs have an emotional gravitas.

These photographs are an irreplaceable record of an artist community that sought refuge in a once derelict warehouse district in Jersey City.

Fausty used a Bronica Medium Format SLR Camera. According to Fausty, he estimates that he shot anywhere from 800 to 1,000 negatives. From this group, he selected roughly 50 prints that would comprise the series. The images are generated from high resolution digital scans and printed with archival quality inks onto Arches rag paper. Some prints are 22 inches and some are 36 inches square on 42 x 48 inch paper.

“This is a collection of my favorite images,” says Fausty. “It is not edited tightly in the way a book might be.” By necessity, the selection of work is dictated by the exhibition venue. That said, the series is usually presented in a loose chronological order. In Fausty’s words: “Pre- and post-apocalypse.”

Edward Fausty’s work is included in many national collections, including Montclair Art Museum, The United States Library of Congress, Yale University, and Goldman Sachs, to name a few. The Henry Street Settlement, Louis K. Meisel Gallery, Hunterdon Art Museum, Hoboken Historical Museum have organized solo exhibitions of his work. His photographs have been included in numerous group exhibitions. He has exhibited his work nationally and internationally, including group exhibitions with Brooklyn Museum of Art, Dallas Museum of Art, and The U.S. Library of Congress.

The New York Times, Artforum Magazine, Village Voice, and The Star Ledger have reviewed his work, to name a few. Fausty has been the recipient of numerous awards, including Princeton University Atelier Program, National Endowment for the Arts (NEA) Survey Grant, and Creative Artists Program Services (CAPS) grant, among others. He received his M.F.A. in photography from Yale School of Art in 1986. He received his B.F.A. from Cooper Union School of Art in 1979. He lives and works in New Jersey.

The exhibition will be on view at Hamilton Square Condominium Association through April 30, 2015. For further information, please visit us at SILVERMAN or call number (201) 435-8000.

“Edward Fausty: A Fragile Utopia: The Days of 111 First Street” is the twenty-third exhibition that Brendan Carroll will organize for SILVERMAN. For additional information on the artist, go here: edwardfausty.com.

SILVERMAN has presented the works of Ali Harrington, Sara Wolfe, Anne Percoco, Shauna Finn, Melanie Vote, Paul Lempa, Fanny Allié, Michael Meadors, John A. Patterson, Charlotte Becket, Roger Sayre, Karina Aguilera Skvirsky, Tom McGlynn, Margaret Murphy, Valeri Larko, Tenesh Webber, Glenn Garver, Jennifer Krause Chapeau, Michelle Doll, Tim Heins, Megan Maloy, Laurie Riccadonna, Thomas John Carlson, Tim Daly, Ann Flaherty, Scott Taylor, Jason Seder, Sara Wolfe, Beth Gilfilen, Andrzej Lech, Hiroshi Kumagai, Victoria Calabro, Asha Ganpat, Darren Jones, Ryan Roa,Laura Napier, Risa Puno, Nyugen E. Smith, Amanda Thackray, and Kai Vierstra.

Transportation Directions from Lower Manhattan to Hamilton Square Condominiums

Transportation Directions from Lower Manhattan to Hamilton Square Condominiums

SILVERMAN and The Majestic Theatre Condominium Association preset
Ali Harrington: Neck of the Woods

OPENING RECEPTION
Thursday, November 6, 2014, 6—8 p.m.

The Majestic Theatre Condominiums
222 Montgomery Street
Jersey City, NJ 07302
201.435.8000

Exhibition on view in the lobby from November 6, 2014 to February 28, 2015.

Ali Harrington

Ali Harrington, Toxic, 2011, Oil on canvas, 20 x 24 inches. Photo courtesy of Cary Whittier.

“What I love about what I am doing is being surprised about what the painting, drawing, or sculpture turns into” — Ali Harrington

SILVERMAN AND MAJESTIC THEATRE CONDOMINIUM ASSOCIATION present “Ali Harrington: Neck of the Woods,” curated by Brendan Carroll. This exhibition features a selection of works on canvas and paper completed over the past four years. From visionary landscapes to absurd caricature, Harrington relies on spontaneity and improvisation to develop her singular imagery.

“[My] paintings and drawings are driven by a search for the image,” says Harrington. “It’s thrilling to problem solve, invent, and figure out how the painting or drawing will resolve in the end. To hold a structure in place, it’s like a game of imposing just enough order onto the chaos of color, light and tone, gesture, form, rhythm… Sometimes the finished work is more abstract, other times more representational, but the question of ‘what will this be?’ is at the heart of everything I do, and keeps me hooked.”

An intuitive, unpretentious artist, Harrington tends to work in series where artworks are born out of play and free association. Whether she’s painting or drawing a person, place, or thing, she invariably starts with a reference to explore the subject at hand while creating the work.

For example, Mountain Goat depicts a large, cloven hoof beast standing astride a craggy precipice at twilight. Directly below the animal is a safety net—the kind associated with the circus. Its inclusion is both jarring and comedic. Toxic is a grotesque abstraction of Libyan dictator Moammar Gadhafi. Harrington reduces the deceased leader to a truncated, headless black form, which she sets against a stark desert backdrop. Gadhafi seems to be held together by nothing more than epaulets and insignia. Nest depicts an elusive, buzzing form, coming from a description in Italo Calvino’s novel Invisible Cities. Its conical shape and hue bring to mind a beehive as much as Brigitte Bardot’s hairdo from her 1962 film A Very Private Affair.

Harrington’s otherworldly landscape drawings are based on direct, personal experience, but they are not drawn from direct observation. To build forms and imagery, she uses saturated colors and expressive mark making, which borders on the fever pitch. These works nail down the eye with their whirling surfaces, and combination of unconscious symbols and distilled evocations of the natural world.

“Once a drawing or painting is done, it is done, and I’m ready for the next,” Harrington notes. “Each work is inextricably linked to the medium itself and the unpredictable path it takes before reaching its conclusion.”

Ali Harrington is an artist currently living and working in Jersey City, New Jersey. She holds an MFA in Visual Arts from Columbia University (2014) and a BFA from Washington University in St. Louis (2005) where she studied painting and psychology. She has exhibited in New York City and Baltimore, participated in a residency at the Vermont Studio Center in 2013, was featured in New American Paintings in 2013, and was nominated for the Rema Hort Mann Foundation Visual Arts Grant in 2014.

The exhibition will be on view at Majestic Theatre Condominium Association through February 28, 2015. For further information, please visit us at SILVERMAN or call number (201) 435-8000.

“Ali Harrington: Neck of the Woods” is the twenty-second exhibition that Brendan Carroll will organize for SILVERMAN. For additional information on the artist, go here: alisonharrington.com

SILVERMAN has presented the works of Sara Wolfe, Anne Percoco, Shauna Finn, Melanie Vote, Paul Lempa, Fanny Allié, Michael Meadors, John A. Patterson, Charlotte Becket, Roger Sayre, Karina Aguilera SkvirskyTom McGlynnMargaret MurphyValeri LarkoTenesh WebberGlenn GarverJennifer Krause ChapeauMichelle DollTim HeinsMegan MaloyLaurie Riccadonna, Thomas John Carlson, Tim DalyAnn FlahertyScott TaylorJason SederSara WolfeBeth Gilfilen, Andrzej Lech, Hiroshi KumagaiTom McGlynnVictoria CalabroAsha GanpatDarren JonesRyan Roa,Laura NapierRisa PunoNyugen E. SmithAmanda Thackray, and Kai Vierstra.

Transportation directions from Lower Manhattan to downtown Jersey City.

 

Anne Percoco

Anne Percoco, Terrarium @ ArtBloc, Jersey City, NJ

SILVERMAN and Hamilton Square Condominium Association in association with ArtBloc present ANNE PERCOCO: TERRARIUM

OPENING RECEPTIONFriday, September 5, 2014, 7–9 p.m.

Hamilton Square
232 Pavonia Avenue
Jersey City, NJ 07302
201.435.8000

Exhibition on view September 5, 2014–ongoing

Anne Percoco’s Terrarium transforms an industrial shipping container into an enclosed ecosystem. With the help of the Hamilton Park Greens Group volunteers, she has filled the containers with weeds harvested from nearby Hamilton Park. Throughout the two-month project run, the installation has been in a constant state of flux as the artist plants, waters, and maintains this living ecosystem while collecting seeds from plants for limited edition seed packets.

Percoco sees Terrarium as a foil to the domesticated space of the park, a wild place within the neighborhood, encouraging viewers to look at the overlooked, and to be aware of the complex wilderness growing in the peripheries of Jersey City. This project is about collective contribution as it is about habitation and biodiversity.

The installation is unassuming during the daytime but takes on otherworldly qualities at night with the activation of pink LED grow lights and a sound installation by Michael Durek. This ethereal quality invites viewers to consider the plants as having an interior life and an agency of their own.

Work In Progress: Terrarium

Work In Progress: Terrarium

The score features minimal, droning sounds reminiscent of the hums and tones that form the background of our sonic experience of cities, while occasionally becoming more cinematic and tonal. The skillful layering of these elements makes them seem almost natural.

Ultimately, this project is about what is undervalued from our daily urban environment, how our value systems interact with both humans and non-humans, and, as Gary Snyder wondered, “where do we start to resolve the dichotomy of the civilized and the wild?”

Percoco makes art not by creating something new, but by reorganizing what’s already there. Her process is resourceful, responsive, and playful. She spends as much time exploring, collecting materials, and researching as she does making. She makes full use of each material’s unique formal properties as well as historical, cultural and environmental resonances.

Percoco studied at Drew University, Madison, NJ (BA 2005) and Rutgers University, New Brunswick, NJ (MFA 2008). Percoco was born in Boston, MA, in 1982. She lives and works in Jersey City, NJ.

For more information on Anne Percoco, or to contact the artist, please visit her website: annepercoco.com.

Rendering

A rendering of Anne Percoco’s installation Terrarium. Courtesy of the artist.

Contributors:

Musician Michael Durek created original sound design for this installation. For more information on the artist, go here: michaeldurek.com.

Filmmaker John Dunstan will project an original video to the side of ArtBloc during the opening reception. For more information on Dunstan, go here: vimeo.

Partners:

SILVERMAN is a New Jersey real estate developer, creatively rebuilding urban areas, supporting the arts, while building neighborhoods.

ArtBloc is a mobile art gallery and performance space built from two repurposed shipping containers – it is a dynamic community venue for art, music, dance and theater.

Brendan Carroll is an artist, writer and curator. He organizes a rotating exhibition program of prominent and up-and-coming artists for SILVERMAN.

Transportation Map:

Transportation Directions from Lower Manhattan to Hamilton Square Condominiums

Transportation Directions from Lower Manhattan to Hamilton Square Condominiums

 

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