ROGER SAYRE: SOUND AND VISION

SILVERMAN AND HAMILTON SQUARE CONDOMINIUM ASSOCIATION present
Roger Sayre: Sound and Vision

Opening Reception: Wednesday, May 11, 6 p.m. to 8 p.m.  

Hamilton Square
232 Pavonia Avenue, Jersey City, NJ 07302
201.434.8000

Exhibition Run: Wednesday, May 11 to August 31, 2016 

Vinyl Color Theory #4 (Detail), 2014, Unique Chromogenic Print, 20 x 24 inches. Courtesy of the artist, rogersayre.com

SILVERMAN and Hamilton Square Condominium Association present  “Roger Sayre: Sound and Vision,” curated by Brendan Carroll. Sayre is an artist driven by ideas who often uses unconventional materials to create his work—LP record album covers, fog juice, step ladders, vinyl folding chairs. What unifies his varied body of work is the sense of playfulness in which the pieces were considered and then realized.

For “Sound and Vision,” Sayre will present roughly two-dozen image-based works that include a new series of lens-less photographs, as well as collages made up of illustrations clipped from dictionaries, cassette tapes, and found photographs. Despite the variety of techniques, materials, and approaches to image making, the work on view in this exhibition is inspired by music in some form. The title of the show, “Sound and Vision,” refers to the song of the same name from David Bowie’s 1977 album Low.

The Halo series is a continuation of Sayre’s two-decade exploration of handmade lens-less photography. Each image is unique, more like a painting than a photograph. There are no negatives, no editions. This work has the immediacy of abstract drawings. They look like no other photographs. At times, the colors, forms, and textures suggest religious auras, radioactive nimbuses, solar and lunar eclipses, and black holes. At other times, they resemble bodily orifices, eyeballs, and entry and exit wounds.

Historically, the process he uses is similar to the one originated by Henry Fox Talbot, one of the early pioneers of photography. Sayre comments:

“Although we live in a world of digital photography, my work has always been informed and inspired by the basic tenets of the process. The kernel of all photography is light striking a light-sensitive surface. The procedure behind The Halo Series stops there. The pieces are made by illuminating photosensitive paper with filtered colored light in a dark room, forgoing both the camera and the film negative.”

Sayre’s hands-on experience in the darkroom is one of invention and discovery. Each photograph receives a minimum of seventy-two exposures that vary in time and color filtration. One piece often informs the creation of another.

The Halo Series is a result trial and error, as much as cause and effect. “When a piece works, it is like hitting a vein of ore after digging for weeks,” notes Sayre. “A success is a rarity, but very satisfying and a result of all the previous work.”

For his collages, Sayre uses the same spirit of improvisation and discovery to create his idiosyncratic orchestras. He combs through old dictionaries to find illustrated depictions of musicians, which he arranges into one-of-a-kind ragtag ensembles of instrumentalists. Sayre does not approach a collage with a preconceived outcome. He has an open mind and lets the process of trial-and-error guide his decision-making.

Roger Sayre (b. 1963) received his B.F.A. from Bowling Green State University in 1985. He received his M.F.A. from Pratt Institute in 1992. Sayre has collaborated with artist Charlotte Becket on a series of public projects that explore and reframe environmental materials and contexts. Last year, they won Socrates Sculpture Park’s 2015 Emerging Artist Fellowship. Sayre cofounded (re)mixed media, an ongoing collaboration with artist David Poppie. Sayre’s works have been featured in Bronx Museum of the Arts, Jersey City Museum, Shore Institute of Contemporary Art, A.M. Richard Fine Art, Allen Priebe Gallery (University of Wisconsin), Regina Gouger Miller Gallery (Carnegie Mellon University), among others. His works have been reviewed in The New York Times, The Pinhole Journal, Flash News, and Pittsburgh Tribune. He has won numerous awards, including the 2015 Artist Fellowship Award from the New Jersey State Council on the Arts. He lives and works in Jersey City, NJ.

The exhibition will be on view atHamilton Square Condominium Association through August 31, 2016. For further information, please visit us at SILVERMAN or call number (201) 435-8000. Hamilton Square is located at 232 Pavonia Avenue in Jersey City, NJ.

“Roger Sayre: Sound and Vision” is the thirty-first exhibition that Brendan Carroll will organize for SILVERMAN. For additional information on the artist, go here: rogersayre.com.

SILVERMAN has presented the works of Elizabeth Gilfilen, Robert Hendrickson, Sarah Becktle, Kati Vilim, Mark Dagley, Candy Le Sueur, Ed Fausty, Anna Mogilevsky, 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 Condominium Association.

From the Metropolis and the Mountains: Paintings by Robert Hendrickson

SILVERMAN AND HAMILTON SQUARE CONDOMINIUM ASSOCIATION present
“From the Metropolis and the Mountains: Paintings by Robert Hendrickson”

Opening Reception: Wednesday, January 20, 2016, 6–8 p.m. 

Hamilton Square
232 Pavonia Avenue, Jersey City, NJ 07302
201.434.8000

Exhibition on view in the lobby from January 20, 2016, to May 6, 2016.

Curated by Brendan Carroll, brendanscottcarroll.com

“I work directly from what I see.” –Robert Hendrickson

Hoboken Panorama, 2010, oil on linen, 30 x 84 inches.

SILVERMAN and Hamilton Square Condominium Association present “From the Metropolis and the Mountains: Paintings by Robert Hendrickson.” This exhibition comprises a series of modest to large-scale oil paintings on linen, canvas, and wood panel. The mini survey, which spans 10 years, features both urban and pastoral landscapes completed in the plein-air tradition. The scenes are devoid of people but never lifeless.

For the past three decades, Robert Hendrickson has chosen to paint the places he has called home: Jersey City, Bayonne, and Colchester, NY. With titles such as Bayonne Sunset (2008), Pulaski Skyway (2005), Colgate Clock, Afternoon (2010), Pepacton Inlet (2012), Shed in Snow (2010), and Zinnias (2014), Hendrickson’s paintings present his everyday subjects in an unsentimental, no-nonsense style. His brushwork is direct, unfussy, knowing. The paintings are as much about color, light, and shape they are about depicting specific locales.

In a thrilling development, there’s a new sense of brevity to his forms. Hendrickson paints what he sees, nothing more, nothing less: a fledgling tomato plant under the midday sun; a fallen tree in a snow-covered woodlot; an isolated road unfurling into Hoboken. He never rearranges what he sees to fit an idealized view or a conception of the landscape. He is faithful to what nature presents to him. But it would be careless to suggest that his paintings have ever bordered on hyperrealism. Eliciting a sense of space has always seemed to be more important than capturing the likeness of the objects being depicted.

Jersey City Heights, 2007, oil on linen, 20 x 50 inches

Colgate Clock, Afternoon, 2009, oil on panel, 10.5 x 14 inches

Hendrickson tends to paint on a modest scale, which he likens to writing a short story. These paintings, unburdened by superfluous detail, simplify the landscape to geometry and hue. From time to time, however, he likes to open up space and paint on a large scale. These works, by contrast, feel more “like an epic novel” to him. Hoboken Panorama, for example, provides a sweeping, all encompassing view of the Mile Square City, which never seems bogged down by minutia.

Intuition, more than emotional connection or convenience, determines what scene he will or will not decide to paint. “This intuition allows me to find landscapes that lend themselves to an interesting abstract arrangement of forms and space,” he remarks.

Snow woods, 2014, oil on linen, 24 x 26 inches

“I used to really enjoy driving around the metropolis this side of the Hudson, attempting to find my next painting spot. It was like a treasure hunt. It was always the more ordinary that interested me. I never wanted my painting to be overwhelmed by the subject that I was painting. For example, the Manhattan skyline is a very attractive thing to try to paint. But for me, it may be a difficult thing to paint in a way that it doesn’t look like some picture postcard.”

He started painting the landscape in the late 1980s as an undergraduate at American University in Washington, D.C. One of Hendrickson’s professors allowed him to skip class so he could pursue his goal to paint the nearby landscape around the nation’s capital. He has not looked back in 30 years.

Why paint the landscape, and why now?

“It’s an odd thing to be painting the landscape in the present time, but it is something I enjoy doing,” notes Hendrickson. “I think there is a formal visual language that has developed since people have been making [landscapes], and by continuing that tradition, I am connected to something larger than myself.”

Pepacton Inlet, 2012, oil on linen, 23 x 20 inches

View of Bear Mountain, 2010, oil on linen

One distinction to be made between his urban and pastoral scenes is temperament. More often than not, the paintings set in and around Bayonne and Jersey City feature nondescript locations: vacant lots, side streets, dead ends. New York City’s skyline appears in many of these works but at a considerable distance, and it is often obstructed by rivers, neighborhoods, and highways. The Big Apple is close but not close enough, more a specter than a thriving metropolis. Per Hendrickson’s eye and hand, the city will always be beyond one’s grasp, leaving viewers to feel as though they’ll never get there.

By contrast, the paintings completed on Hendrickson’s property in upstate New York feel intimate, accessible. The subject matter is always close at hand and within arm’s reach. To look at a painting of his flower garden, one can imagine sitting on a lawn chair in his yard, enjoying a cold glass of iced tea during a spring day in May, possibly playing a game of I Spy with the clouds.

Zinnias, 2014, oil on canvas, 18 x 24 inches

ISE Cultural Foundation, George Billis Gallery, and Rotunda Gallery have organized solo exhibitions of his work. Gallery Shoshinkan, New Jersey City University, Ramapo College of New Jersey, and Frederieke Taylor Gallery, among others, have featured his landscape paintings in numerous group exhibitions. Jersey Journal, American Art Collector, and Dallas Morning News have written about his paintings. He has received awards from Lower Manhattan Cultural Council, New York Studio School, and Wayne Art Center, and many others.

Hendrickson earned his MFA in Painting from Southern Methodist University (2004) in Dallas, TX, and his BA in Studio Art and Art History from American University (1989) in Washington, D.C. He has taught painting at College of the Ozarks in Point Lookout, MO, and New York Studio School in New York, NY. He lives and works in Bayonne and Colchester, NY.

The exhibition will be on view at Hamilton Square Condominium through May 6, 2016. For further information, please visit us at SILVERMAN or call 201.435.8000. Hamilton Square is located in 232 Pavonia Avenue in Jersey City, NJ.

“From the Metropolis and the Mountains: Paintings by Robert Hendrickson” is the 29th exhibition that Brendan Carroll will organize for SILVERMAN. For additional information on the artist, go here: robertrhendrickson.com.

SILVERMAN has presented the works of Sarah Becktel, Kati Vilim, Mark Dagley, Candy Le Sueur, Ed Fausty, Anna Mogilevsky, 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

 

 

 

Opening reception of Candy Le Sueur: Where Dreams Land

Photographs from the opening reception of Candy Le Sueur: Where Dreams Land, which was held Friday, September 11, 2015, 7–9 p.m. Enjoy.

 

Candy Le Sueur: Where Dreams Land

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

“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.

Kirk Bray: Seeing It Again

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.

“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