The First Art Newspaper on the Net    Established in 1996 Saturday, October 23, 2021


'Our Secret Fire: Contemporary Artists and the Alchemical Tradition' opens at Hirschl & Adler
Louisa Chase (1951-2016), Untitled (Fire Study), 1983. Oil and wax on canvas, 22 x 26 inches.



NEW YORK, NY.- Transmutation is central to alchemy. This metamorphosis of matter requires pushing materials from one form into another in a succession until a final realization of purity is achieved. Purity is defined not as a “this” or a “that,” but as something that is a combination of its previous forms and yet something entirely new. Much more than “lead into gold,” alchemy is the pursuit of new understanding and new ideas through the manipulation of what already exists. This pursuit resonates strongly in Our Secret Fire, a group exhibition dedicated to nine artists whose work purposefully exists between states of being, caught in the act of metamorphosis. These artists utilize the shiftiness of the liminal state to explore ideas like domesticity, production and commodification, perception, and phenomenology. Their materials, whether physical or conceptual, can be pushed into any number of forms by the viewer or by the artist herself to both inform and surprise. This is the transmutation the alchemists sought. The artists in Our Secret Fire bring it forward.




Sarah Braman’s sculptures fuse the quotidian forms of a chair and a cabinet drawer with blocks of pure color, culminating in objects which transcend their domesticity to rapturous levels of sensory experience. This phenomenological investigation overlaps with the paintings of Louisa Chase, whose narrative-driven works from the early 1980s seek to explain her own emotional state through nature-based imagery. The resulting canvases are expressionistic metaphors for the human condition. Jenny Morgan’s paintings carry the same weight without the overt materiality of Chase’s paint handling. In her richly layered paintings that swing between portrait and landscape, Morgan subtly places the human form within sensual passages of fabric and forest. Angela Fraleigh’s paintings lean into their alchemical nature through both imagery and process. Her deep, brooding abstract atmospheres are interstitial spaces achieved through Fraleigh’s process of pouring, dripping and pooling swirls of lush, liquid pigment. Within these undulating mists, depictions of women drawn from art historical sources but removed from their original context materialize before the viewer full of power and magic.

In her process-driven practice, Howardena Pindell mines the metaphors surrounding destruction and construction. Her collages, built-up of circular, paper punch-outs from sheets on which she has drawn and painted, point to the necessary destruction and sacrifice within cosmology and universe building. María Elena González’s exploration of the visual overlap between birch bark and musical notation is modern day alchemy in the strictest sense. By moving through various states of being, from bark to rubbings to notation to player-piano scroll, González reveals the purity of the birch tree is its inherently individual song. Lily Cox-Richard’s amorphous sculptures, built of oozing materials and plaster casts of baskets and trees, look as though disparate objects are melting together when in truth the artist employs a traceable conceptual progression. Each aesthetic element references a specific, real-world issue between commodification and production, both historically and contemporaneously. The breakdown between beautiful form and saddening content underscores just how underrecognized these issues are. The marble sculptures of Elizabeth Turk highlight how nature has shaped organic materials long before any artist’s manipulation. Through her carving, she pushes the material to its physical limit and exposes the provocative tension between the marble’s intrinsic strength and its inherent fragility. Zoe Pettijohn Schade’s drawings operate on the edge between subject and object, between abstraction and representation. Her tightly rendered observations of mirrors and subsequent reflections are based on utopian ideals of self-assembly. As the reflections compound to make evermore intricate designs, Schade’s imagery moves beyond straightforward representation towards complex abstract patterning. Like a true alchemist, she forces her drawings from one state of being into another to find the purity located within.










Today's News

September 10, 2021

Art fairs come blazing back, precarious but defiant

Art Basel and UBS publish 'Resilience in the Dealer Sector: A Mid-Year Review 2021'

A blue-chip art bonanza: Macklowe Collection goes to Sotheby's

Why art struggled to address the horrors of 9/11

Hindman Auctions to present Native American Art Auction this month

New York exhibition celebrates Dior's American influence

The first Dutch Neanderthal now has a face

Artpace San Antonio announces a transformative gift from Janet Lennie Flohr

Royal Institute of British Architects announces 2021 National Award winners

Cao Fei wins the Deutsche Börse Photography Foundation Prize 2021

'Our Secret Fire: Contemporary Artists and the Alchemical Tradition' opens at Hirschl & Adler

Funding gap forces British Council to scale back

National Museum of Women in the Arts announces new acquisitions

The Approach opens solo exhibitions by Jack Lavender and Sara Barker

Cooke Latham Gallery opens an exhibition of paintings by Francisco Rodriguez

James Allen St. John original artwork for century-old Edgar Rice Burroughs novels heading to Heritage Auctions

Frederik Vercruysse opens a show with new and exclusive prints and objects editions at Spazio Nobile Gallery

Schomburg Center for Research in Black Culture exhibition marks the 55th anniversary of the Harlem Institute of Fashion

Phillips announces The Crossover with Saint Fleur and Project Backboard

Xavier Hufkens opens an exhibition of works by Lynda Benglis

MFA Boston appoints theo tyson as Curator of Fashion Arts

Michael Constantine, dad in 'My Big Fat Greek Wedding,' dies at 94

rodolphe janssen opens two new exhibitions of works by Thomas Lerooy and Betty Tompkins

JD Malat Gallery opens Physis, a solo exhibition by Spanish artist Luis Olaso

National Gallery of Canada welcomed more than 75,700 visitors this summer since reopening in mid-July

Rehabilitation of Alcohol Addicts: Importance of Rehab Clinics

Playing PKV Games Domino through Applications Get Various Benefits




Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

sa gaming free credit

Royalville Communications, Inc
produces:

ignaciovillarreal.org avemariasound.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. The most varied versions
of this beautiful prayer.
Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site Parroquia Natividad del Señor
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful