Intern’s Edition: Becky Yazdan
by Evelyn Jimenez, 2016
Recent Work: Becky Yazdan, Emilia Dubicki, and Aspasia Anos
on view now at FRED.GIAMPIETRO Gallery through August 5, 2016
I’m still relatively new to all this college bizz’. Like most undergrads whose higher education just began, I am struggling to make sense of my studies and eventually turn them into a fruitful career path. However, interning with the Fred Giampietro Gallery this summer has definitely cleared up the potentiality of my profession. The exposure to a multitude of exceptional artists, styles, and mediums has begun to refine my own artistry and consciousness while creating art.
Out of the several artists that are currently featured in the exhibition, I’ve been especially drawn to the work and process of Becky Yazdan. In my research of the artist, Yazdan largely speaks on how her pieces are informed by dreams, childhood, and general memories. Her paintings are primarily done with oil on linen or panel, varying heavily in layering, organic shape, and texture.
From Left to Right: “Rope Tow” and “Mother”
When experiencing the works in person, this is definitely apparent. Whether through palette knife grazing, or scratching it all off and beginning anew altogether, viewers are able to see the history of each painting through these built surfaces. It’s in these subtle lines, bold color blockings, and light washes of paint, the viewers are sucked into a truly mystical and ethereal world.
Detail of “Rope Tow”
Detail of “Mother”
You can try to make sense of what’s going on in the artist’s head, perhaps by reading titles and making correlations, but Yazdan encourages her viewers to create their own retrospective and recollections as well.
Yazdan’s ability to narrate and encapsulate a moment into her paintings will certainly continue to pull in audiences of all tastes, and urge them to come to their individual and unique disclosures.
From Left to Right: Becky Yazdan, Emilia Dubicki, Aspasia Anos
A brief side note unrelated to aesthetics: I highly appreciate that this exhibition showcases the talents of predominantly women because my studies, and general life passions, are centric to the empowerment of women.
It is rare that as avid gallery explorers think twice on whether or not there are enough women in a show, and can sometimes subconsciously accept men as the primary source of our exposure to art. Representation of women’s artwork (even in smaller galleries like Giampietro’s) can be extremely influential to the way we as a community, and even as a society at large, can begin to change the way we think about the image of the successful artist.
Our current exhibition titled, “Recent Work” features the paintings of Emilia Dubicki, Becky Yazdan, and mixed media on photographs by Aspasia Anos. In the project space, we are exhibiting work by Ewelina Bochenska and Danny Huff. This exhibition is open now through August 5th.
In the Studio with Emilia Dubicki
“I am always tying up and then deciding to depart.”
Frank O’Hara, To the Harbormaster
Local artist Emilia Dubicki recently wrote, that her paintings “are a negotiation between external and internal landscapes and visions.” Her palette largely consists of rich saturated blues, warm and cool blacks and whites, greys, and an occasional splash of brilliant cadmium red. With large gestural motions, drips, and a stark contrast of light and dark, Emilia captures and embraces the raw emotional moments in which “one vision blurs, retreats, drips and gives way to another” as her “memories rewind and fast forward.”
ED: For me painting is about asking questions, questions that can’t always be put into words and may not have immediate answers. Ultimately, the art has to be about seeking the truth. From white spaces something emerges – another question, another painting. In the paintings there is calm and space to ruminate and other times more movement and energy. Each painting is a stop toward a greater destination and a negotiation between external and internal landscapes and visions. Sometimes the memory isn’t so clear as to what was or wasn’t there, what did or didn’t happen.
ED: In this current body of work, the paintings reference one another. I’m addressing what it is to be of a place that is real and imagined, a place whose weight is on the soul’s shoulders and can’t be shrugged off. The feeling is more gift than burden. The journey continues and leaving is returning.
Emilia’s work has been exhibited both nationally as well as internationally. Her work was recently featured in Art New England Magazine and at New York City’s Holiday House. She has been awarded residencies from the I-Park Foundation, The Vermont Studio Center, and the Wurlitzer Foundation.
Check out these great images from the opening reception of, “Recent Work” featuring the work of artists Emilia Dubicki, Aspasia Anos, Becky Yazdan, Ewelina Bochenska, and Danny Huff. The exhibition is open now through August 5th. Our summer hours are M-Sa 11am-5pm. We are located across the street from the Yale Center for British Art and the Yale University Art Gallery.
Interview with artist Loren Myhre
Kimberly Myhre: What is your working process?
Loren Myhre: It’s funny; I don’t think I really have a working process. Art and life is not based around a governed routine at this stage in my life. I make art when I am afforded the time and work around a chopped up time schedule. Usually, I get to paint at home in one hour to two-hour bursts. Those few hours are really focused and intense moments for me. Working on sculptures in the studio is often relegated for late nights when everything is quiet and life seems to cease. I have found a kind of fairness in juggling everything.
KM: What are the differences between working on a painting and working on a sculpture for you?
LM: The element of time is the greatest difference between the act of painting and the act of sculpture. Painting for me is a lot more immediate and instantaneously gratifying. I can create something out of paint and instantly change my mind and destroy it and rebuild it again in a matter of minutes. Working in three dimensions and largely with industrial material you do not have that luxury. The sculptures evolve through more calculated steps. The creation and destruction of a piece of art has been on my mind lately. I believe destruction is part of the creative act. It may be more recognized in painting than in sculpture but it exists equally in my work.
KM: Who are some of the artists that have influenced you?
LM: The artists that have had the greatest impact on me have been those that I have had the privilege of sharing a relationship with. I worked closely with the sculptor Tom Butter in graduate school. He greatly molded my mind around how to think about sculpture. He showed me what sculpture could be and how it should function with time and space. Tom guided my thoughts about the use of materials to evoke a feeling, relay a mood or shape a state of being. I was also transitioning from being largely a painter to the sculpture end of doing things. Tom was influential in getting my ideas off the wall and to have sculpture inhabit a room and fill a space with its presence. I have always maintained my affinity for painting and another great mind I worked with in school was the painter Louise Fishman. If you ever need your faith restored in the power and necessity of painting, Louise is the one to talk to. Even though I was gravitating towards sculpture, Louise was keeping my one foot in painting. While a lot of people were making things that paraded as painting with stuff other than paint, Louise was pointing to what could still be done with a loaded brush and that was still exciting to me. Tom has become a dear friend and I still keep in touch with Louise as well.
KM: What works of art do you find yourself revisiting as sources for inspiration?
LM: I have been continually drawn to a photograph by Masahisa Fukase. It is titled “Dream Island, Tokyo” (from the series Solitude of Ravens). The photo is filled with mystery and is expressionistic in its scope. It is simultaneously beautiful and saturated with tragedy. Whenever I visit the Met I enjoy revisiting the painting “Woman with a Parrot” by Gustave Courbet. It’s light color and composition is mesmerizing. What is most fascinating to me about the work is what is faked and imagined. The bird in flight upon the woman’s finger, the heavy floral drape imparting a densely vegetative landscape – all of that stuff is made up out of his head. The pale luminous woman feels transplanted into this tent like paradise.
Masahisa Fukase, “Dream Island, Tokyo (from the series Solitude of Ravens), 1980, gelatin silver print, 29 x 43cm
More on the Artist:
Born in Estherville Iowa and raised in Florida, Myhre’s work reflects the rural landscape of his youth. He was a champion of the youth organization 4H raising sheep and cattle from a young age. This instilled in him an industrious work ethic and enthusiasm for all things found in nature. Though he juggles the role of husband, father and provider he manages to maintain a prolific art practice.
In Florida, during his undergraduate studies, his work was purely abstract pastoral landscapes. The transition to New York City for graduate school presented a new environment and he felt compelled to reinvent his working process. This wasn’t a gentle transition however, and what at first was sheer anxiety gave way to a rhythm of brave experimentation. His peers and instructors were an invaluable community to him during this time. Confined by the constraints of city life, in a walkup railroad apartment with a graduate student’s budget, he quickly grew fond of fabricating small sculptural pieces comprised of found materials. These early experiments laid the foundation for his process of balancing fabricated and found objects.
For the past 8 years Myhre has been living and making his art in Florida. He has served as an adjunct professor teaching courses in sculpture and metal sculpture at Flagler College. His work has continued to evolve hinting at an organic nature and a juxtaposition of found with fabricated materials.
-Kimberly Myhre, 2016
Thank you to everyone who came to the opening reception of, “Recent Work” Saturday night! This exhibition features work by Artists Loren Myhre, Peter Ramon, Steven Powers, and Alteronce Gumby. The exhibition is open now through June 18th. The Gallery is open M-Sa 11am-6pm and Sunday by chance. We are located across the street from the Yale Center for British Art and the Yale University Art Gallery.
Left to Right: Peter Ramon, Steven Powers, Loren Myhre, Kathy & Fred Giampietro
Left to Right: Alteronce Gumby & Steven Powers
Join us for the Opening Reception TONIGHT from 6-8pm, exhibiting new works by Loren Myhre and Peter Ramon. The new exhibition also features new pieces by Alteronce Gumby and Steven Powers. The show reflects an interesting juxtaposition of mediums while also incorporating movement through organic forms and a vibrant color palette.
Peter Ramon describes his paintings as,”…abstract, informed by nature, comprised of memory, sideways glances, fleeting thoughts… and unrelated meanderings. Like most artists I draw upon life experience, nature and the world around me. The tools I use, the approaches I take, have mostly to do with how I interpret those things at that particular time.” Ramon’s approach is evident in this exhibition not only through his variation in scale, but also in his compositional structure. His use of abstraction, color, and layering forms convey the feeling of these fleeting moments he describes through his process.
Loren Myhre talks about his inspirations for his work through past experiences with nature. He writes, “I grew up with a father who is a gardener and horticulturalist. We had many greenhouses on our property and at a very early age, I would assist him in the nursery with transplanting a wide variety of plants and flowers. Working in the greenhouses presented a wordless world of possibility and freedom. The greenhouse existed as this laboratory for the cultivation of beauty that could exist apart from understanding or explanation. Being inundated with the beauty and magic of that creative labor has carried over to how I give attention to works of art. The poet Theodore Roethke is quoted as saying that his interpretation of the greenhouse, “is the symbol for the whole of life, a womb, a heaven on earth.” His quote resonates strongly within me. I believe that the making of art is the restorative process of bringing a form of “heaven to earth”. My work is a hybrid that feels equally rooted in this world and yet having been born from another. I find joy infusing in works of art notions of familiarity with passages of complete ambiguity. Objects that possess the ability of feeling particularized while slipping into free associative passages of poetry and profundity.”
Loren Myhre’s work expresses these ideologies of “ambiguity” versus “familiarity” through his contrast of industrial materials with organic forms in his sculptural pieces. Whereas his paintings tackle the similar subject matter, but through the juxtaposition in line quality, form, and color in a two dimensional format.
See you there! :)
Posted by Alexa Fleischer-Cerino
COMMON GROUND, an exhibition featuring the paintings of artist Farrell Brickhouse paired with a unique selection of American Folk & Outsider Art. Come view exquisite surfaces, techniques, compositions, and stories now through May 14th.
In the Studio with Farrell Brickhouse
“When I was around 8 years old I had a dream I was in a garden. I climbed this wall and realized that if I jumped over I would no longer have the protection and order of the garden and would be in the wilds. I jumped. It seems a life’s choice.
Making Art is a way to share the totality of what I’ve seen, touched and what has touched me. I believe the making of a painting needs that moment of epiphany and a trace of how the imagery conveyed thru paint was discovered and experienced by the artist. Not a graphic notation of the language of experience but the mystery of it.
For me art is a personal odyssey. A vehicle to carry me forward and find some deeper unity in what is happening in and around me. Art is a slow burn, working its gift on individuals. It is based on a life lived worked into a liquid space. I want my paintings to be a haunted living presence that reveals to the viewer passion, intellect, mystery and that changes with each day’s new light. My work is experiential, non-formulaic. Painting is a belief system that asks as Borges stated, “ a momentary act of faith that reality is inferred from events not reasonings. That theories are nothing but stimuli: that the finished work frequently ignores and even contradicts them.”
One of arts chief functions is to resist the denaturing forces that are always present; those things that would take away our transcendent possibilities and turn us into stereotyped beings. For me Art is not the production of meaning but the providing of a genuine experience of what it is to be alive and in the world. Octavio Paz said that art turns the viewer into an artist. Great art is a freedom giver, offering one a sense of the breadth of one’s own possibilities, what may yet be accomplished.
As a mature artist now 66 years old, I find I have this large vocabulary to draw from. Imagery that has woven its way thru my entire career is available and malleable. I have access to this personal history with a renewed understanding of it’s original intent and a deepening understanding of how these “forms” can continue to speak for me in paint. I also seek to explore the range of subject matter my paintings can encompass as I look to everyday experiences, tell stories and paint about current events in a expanding as well as deepening vocabulary. There is in Art History an excitement as I see my concerns expressed in new artists and old ‘friends’ offer continued gifts. At its best making art is a revelatory experience, a conduit to the beauty and mystery in the miracle of simply being here. Painting is the wish and the prayer and the offering all in one. It is an act of faith just to pick up the brush.”
– Farrell Brickhouse
We are thrilled to announce that our COMMON – GROUND catalog is now available to view and purchase via BLURB.com This exhibition (April 9 – May 14, 2016) features a wonderful selection of paintings by Farrell Brickhouse paired with unique American Folk Art. Sculptures by Elise Siegel are on view in our project space. Our opening reception is this Saturday, April 9th, 6-8pm
The work of Farrell Brickhouse and the work of anonymous folk and outsider artists share an innate commonality, often expressing a personal narrative through their artwork. While many contemporary artists draw inspiration from folk and primitive art, it is rare to see an artist that embodies this sensibility. In it’s purest form, it is storytelling through paint, wood, metal and stone.
Farrell Brickhouse writes, “I find I have this large vocabulary to draw from. Imagery that has woven its way thru my entire career is available and malleable. I have access to this personal history with a renewed understanding of its original intent and a deepening understanding of how these “forms” can continue to speak for me in paint. I also seek to explore the range of subject matter my paintings can encompass as I look to everyday experiences, tell stories and paint about current events in an expanding as well as deepening vocabulary. At its best, making art is a revelatory experience, a conduit to the beauty and mystery in the miracle of simply being here. Painting is the wish and the prayer and the offering all in one. It is an act of faith just to pick up the brush.”
Ruth Hiller’s amazing work is currently on view now through April 2, 2016 at FRED.GIAMPIETRO Gallery. Also, on view are works by Tom Burckhardt and Becca Lowry.
In the Studio – Ruth Hiller
Living in nature, as well as in an urban environment, have compelled me to create work that appears plastic, tactile and machine made with hints of my surroundings. The visual conversation between the paint and forms culminates in my softly linear objects– evocative of industry and nature.”
Ruth Hiller received her BFA from Art Center College of Design in Pasadena, CT. Her work has been exhibited throughout the United States. Hiller has been awarded residencies and many prestigious awards.