<span style="color: rgb(255, 255, 255);">....</span><br /><br /><br /><a href="http://farm9.staticflickr.com/8014/7469776238_c8fdcc8e04_b.jpg"><img alt="" border="0" src="http://farm9.staticflickr.com/8014/7469776238_c8fdcc8e04_b.jpg" style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 681px; height: 906px;" /></a><br /><a href="http://farm9.staticflickr.com/8156/7469773098_29f3fef849_b.jpg"><img alt="" border="0" src="http://farm9.staticflickr.com/8156/7469773098_29f3fef849_b.jpg" style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 679px; height: 1022px;" /></a><br /><br /><br /><br /><span style="font-style: italic;">images:<br /></span><br />1. <a href="http://www.timelessliving.be/Pages/index.php"><span style="font-weight: bold;">Timeless Living</span></a>, more here.<br /><br />2.<span style="font-weight: bold;"> Indipendenza Studio </span>: Sunny Side Up<br /><br />"<span style="font-weight: bold;">Fredrik Værslev</span>’s first solo exhibition in Italy. In his latest body of work, Fredrik Værslev has turned his attention to an often overlooked, yet all-pervasive component of the visual grammar and basic iconography of suburbia. Grammars and iconographies that the artist continues to rigorously scrutinize and also to vividly immerse himself in. These new paintings make immanent the diagram, look, and temporality of the canopy. In suburban residential areas canopies shelter, hide, promote, embellish and mark houses, row houses, duplexes, apartment buildings and blocks.<br /><br />Alien canvas-like patches, shells and surfaces attached to an architecture that is often prefabricated, canopies are accessories that both serve as<span style="font-weight: bold; font-style: italic;"> arbitrary outside décor as well as highly functional prostheses that facilitate certain operations carried out by these buildings. </span>Anyone familiar with suburban communities know that these canopies also form assemblages in and by themselves; patterns, fabrics, colors, formats, and striations - and that these, in turn, engage in competing compositions. Which ornamental-facilitating canopies are able to elevate their houses, owners and neighborhoods to a position that solicits and communicates good taste, money, and social status? And which ones perform the inverse actions? Ugly, untidy and tarnished ones - or those simply in bad taste - can negatively affect huge residential areas both socially and financially. " <a href="http://www.indipendenzastudio.com/exhibitions.html?exh=36&page=press"><span style="font-style: italic;">(more here)</span></a><br /><br /><br /><a href="http://www.indipendenzastudio.com/exhibitions.html?exh=36&page=press"></a><br /><br /><br /><br style="color: rgb(255, 255, 255);"><span style="color: rgb(255, 255, 255);">--------------</span>

.... images: 1. Timeless Living , more here. 2. Indipendenza Studio : Sunny Side Up " Fredrik Værslev ’s first solo exhibition in Ital...

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"a form of truth"

In the sleepy West Of the woody East<br />Is a valley full Full o' pioneer<br />We' re not just kids To say the least<br />We got ideas : To us that' s dear<br />Like capitalism Like communism Like lots of things<br /><span style="font-style: italic; color: rgb(153, 153, 153);">- frank black, pixies</span><br /><br /><br /><a href="http://farm9.staticflickr.com/8142/7455325792_4fb42483ef_c.jpg"><img alt="" border="0" src="http://farm9.staticflickr.com/8142/7455325792_4fb42483ef_c.jpg" style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 701px; height: 573px;" /></a><br /><br /><a href="http://farm8.staticflickr.com/7112/7455358154_e62ab30a6d_b.jpg"><img alt="" border="0" src="http://farm8.staticflickr.com/7112/7455358154_e62ab30a6d_b.jpg" style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 709px; height: 491px;" /></a><br /><br /><br />“I do in-depth research, buying fittings and moldings from the period in order to establish a framework that conveys a form of truth, but avoiding anachronisms,” Dirand says. “I don’t want volumes and objects that are there just to be beautiful. <span style="font-style: italic; color: rgb(153, 153, 153);font-size:130%;" >Beauty fades fast—what one retains is how beauty fits into the context.</span> For many years I refused to draw inspiration from the past, but today, after making my share of mistakes and breaking free from my own taboos, I no longer rely on any formula, starting from zero with every new site. It seems so obvious to me now: the spaces, countries, cultures and clients are all unique. And yet ultimately they are all interconnected, like the chapters of a novel drawn from past experience—from life.”<br /><br /><span style="font-style: italic;">- Joseph Dirand</span><br /><br /><br /><br /><a href="http://farm8.staticflickr.com/7258/7455271944_db33d6998a_c.jpg"><img alt="" border="0" src="http://farm8.staticflickr.com/7258/7455271944_db33d6998a_c.jpg" style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 700px; height: 533px;" /></a><br /><a href="http://farm9.staticflickr.com/8162/7455272338_6c83fb56b8_b.jpg"><img alt="" border="0" src="http://farm9.staticflickr.com/8162/7455272338_6c83fb56b8_b.jpg" style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 700px; height: 557px;" /></a><br /><br /><br /><br /><br />"a form of truth"<br /><br /><span style="font-weight: bold; font-style: italic;">the firms:</span><br />1. Andersson-Wise<br />2. Joseph Dirand<br />3. Andersson-Wise<br />4. Darryl Carter<br /><br style="color: rgb(255, 255, 255);"><span style="color: rgb(255, 255, 255);">------</span>

"a form of truth"

In the sleepy West Of the woody East Is a valley full Full o' pioneer We' re not just kids To say the least We got ideas : To us tha...

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Flection

"Throughout art history, the depiction of folds and drapery to create three-dimensional space in a work of art was of primary importance, and how well executed they were was a testament to an artist’s ability."<br /><br /><br /><div style="text-align: center;"><a href="http://farm9.staticflickr.com/8010/7437911816_eb8a61fd22_b.jpg"><img alt="" border="0" src="http://farm9.staticflickr.com/8010/7437911816_eb8a61fd22_b.jpg" style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 700px; height: 696px;" /></a></div><div style="text-align: center;"><span style="font-style: italic;">Michael Delucia, 2012</span><br /></div><br /><span style="font-weight: bold;font-size:130%;" ><br /><br style="font-style: italic;"><span style="font-style: italic;">Flection </span></span><br /><span style="font-style: italic; color: rgb(102, 102, 102);">22 June — 1 September 2012 </span><br /><span style="font-size:100%;"><br /></span><span style="color: rgb(51, 0, 0);font-size:100%;" ><span style="font-weight: bold;">Hedge Gallery</span></span><span style="font-size:100%;"> </span>is pleased to present the upcoming show “Flection”, curated by Sabrina Buell. This group exhibition features works, many of them new and exhibited for the first time, by Michael DeLucia, Liam Everett, Anna Sew Hoy, Ruth Laskey, Arik Levy, Sam Orlando Miller, Clare Rojas, Hugh Scott-Douglas and Sara VanDerBeek. Throughout art history, the depiction of folds and drapery to create three-dimensional space in a work of art was of primary importance, and how well executed they were was a testament to an artist’s ability.<br /><br />With the rise of modernism and abstraction in the 20th century, such pictorial efforts became irrelevant and practically obsolete. Lately, however, contemporary artists who employ the visual language of abstraction have re-incorporated the representation of folds and drapery into their practice. The surfaces of these works, whether flat or sculpted, rough or sleek, become planes imbued with depth and conspicuous complexity. But whereas in the past this pictorial technique was an attempt to heighten the realism within a work, the artists in this exhibition employ the technique to deepen, quite literally, their abstraction. Working in different media and with varied processes, together these artists offer multi-faceted works that turn the art historical tradition of folds and drapery on its head.<br /><br />Hedge was founded by Roth Martin and Steven Volpe to present objects of exceptional quality that articulate their own historical moment and connection to significant cultural and craft traditions. Hedge represents the work of Erna Aaltonen, Ernst Gamperl, Christopher Kurtz, Arik Levy, Tony Marsh, Sam Orlando Miller, Ritsue Mishima, Paul Philip, and Aaron Silverstein, among others, and stands for the value of bringing authentic, rare, and accomplished work to public view. <span style="font-style: italic; color: rgb(153, 153, 153);">(all text taken from Hedge)</span><br /><br /><a href="http://www.hedgegallery.com/#/home/"><br />go to HEDGE</a><br /><br /><br style="color: rgb(255, 255, 255);"><span style="color: rgb(255, 255, 255);">--------</span>

Flection

"Throughout art history, the depiction of folds and drapery to create three-dimensional space in a work of art was of primary importan...

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