FOR IMMEDIATE RELEASE
Harry Borgman, Kenji Kojima, Willy Richardson, Donald Silverstein, Marc Van Cauwenbergh
January 4 - February 22, 2007
We are please to present the following artists currently on view at the gallery:
Borgman's recent acrylic paintings in a delightful and exciting display of works rendered in multiple mediums. The Artist, whose 62-year career has bridged both commercial and fine arts world, is now living and working in Michigan. While the works are a display of Borgman's sensitive use of the palette, it is his cultivated skills in abstraction that are most notable. His paintings are reflections of his extensive knowledge of computer graphics. Consider the book he has published recently, Surrealities: Experiments with Digital Photomontages and Digital Dreams:
Exploring the Computer as an Art Medium, and we now understand that the main thrust of Harry Borgman's artistic vision is his embrace of the digital revolution and his effort to transcribe the language of modern technology onto canvas.
Kojima's works challenges the distinction between painting and sculpture. in 1980, he began to explore the medieval and highly ceremonial technique of egg tempera, in which egg yolk binds the pigment. Each layer is applied to a gessoed ground and build up incrementally to create textures. By using thick and at times unusually shaped wooden supports, Kojima embraces the sense of three-dimensionality. The works featured Kenji Kojima was born in Japan and moved to New York in 1980. He currently lives and works in New York City.
Kojima's egg tempera paintings are collected by:
Citibank, New York, NY. and other various corporations and private collectors.
Each painting in Winter Salon entices the viewer to experience the artist's diverse mindscape. Richardson is attuned to the beauty of the mundane and the minimal and expressing this appreciation through his paintings. Richardson transfers a profound sincerity to the viewer.Complexity is divulged in the relationship within and between bands of color, yet simplicity of form and their meditative aesthetic, is comprehended as a whole.
Richardson received his M.F.A. in 2000 from the Pratt Institute and has participated in numerous shows in the U.S. and worldwide, most notably in 2005 at the King's Gallery in Sydney, Australia, in 2003 at the Nohra Gallery in New York City. He currently lives and works in New York.
Donald Silverstein (1932 - 2004).
Donald Silverstein graduated from the Society of Arts and Crafts in Detroit, Michigan in 1949 and began work as an illustrator for books and other publications. he has been recognized and lauded for his energetic and oftentimes humorous illustrations. After a brief tour in the Armed Services during the Korean War, Silverstein resumed his work as an illustrator and 1973, first began to explore his talents as a painter. While in Japan, where he moved with his wife Sakiko in 1982,Silverstein worked for publishing houses, and maintained a studio to paint, subsequently holding several solo shows in various galleries. In Japan, Silverstein experienced an entirely different culture in which his artistic senses were piqued by the dynamism and spontaneity of Japanese calligraphy as well as the patterns and material of Kimonos. For Silverstein, life in Tokyo provided a new and exciting environment where the possibilities of painting were translated into vigorous works on paper, canvas, and board. His works embody a truly personal response to the cultural and natural stimuli around him.
Marc Van Cauwenbergh.
Interested in body presence and behavior, Marc Van Cauwenbergh focuses on humanoid forms in motion. Though completely abstract, his compositions translate as portraits of the lyrical interaction imbued in physical movement.
Here, thin washes of oil paint, which are brushed directly onto the linen, create predominantly vertical shapes. These mysterious banners of translucent color are carefully layered on top of each other and hence, intermingle like engaging bodies. In fact, each distinct shape translates as a silhouetted individual, whose characteristics and personality are defined through the artist's handling of color and form. Together, the elements begin to interact, cover one another, weave together, and separate, generating a strong notion of sensuality and even eroticism. These color conglomerates are set against plain backgrounds, creating a precise framework for the unified subject. Within this space, Van Cauwenbergh's abstract figures seem to be floating freely. The confinements of the canvas resemble the theatric stage. The inherent lyricism is as organic as it is graceful.